So I was thumbing through the paper yesterday, when I came across an intriguing article in the Music/Arts section. It was about this compilation of artists singing together and the proceeds went to AIDS charities. So I was skimming over it, thought it sounded pretty cool. Then they named the bands participating.
Arcade Fire. Okay, one of my top three bands of all time. Spoon. Love them. Holy shit this is amazing. Sufjan Stevens. This must be a joke. The Decemberists. Oh my frickin' god. Kevin Drew from Broken Social Scene? Wow. Again, one of my favorite bands ever. My Morning Jacket. This is just too good.
So yeah, it has, like, all my favorite bands, with new music, all on one album. This is like the library of Mark's favorite music. I was beaming with joy, like a maniac. So of course I bought it (or most of it) and am listening to it right now. I urge you to buy this CD, Dark Was The Night. Feist (Decent), Bon Iver, Andrew Bird, The National (BRILLIANT), The New Pornographers (GREAT), Cat Power and a bunch of others are featured. And above all else, it goes to a great, important cause. I may write more later about the actual songs, themselves. Yet judging by the bands, I can tell you now, most of the songs are great.
Friday, February 27
Wednesday, February 25
2009 Best Picture Field In Advance
I find predicting the Oscars way out (like, 363 days prior to the show) rather fun. To maybe look at this naive post hundreds of days from now, the day after a new film has joined the elite club of Best Picture, will certainly be interesting.
Now, I'm going to purely base these five films off of the cast, director, screenwriters, early word, potential and my good ole' gut. And the nominees are...
Now, I'm going to purely base these five films off of the cast, director, screenwriters, early word, potential and my good ole' gut. And the nominees are...
- "Untitled Nelson Mandela Project" - Eastwood had somewhat of an off-year in terms of Oscars in 2008, yet I doubt that will be the case this year. This seems like the perfect Oscar movie. A biopic. Clint Eastwood. Morgan Freeman. Clint Eastwood with Morgan Freeman. It all adds up, and for me, this is the early frontrunner. Which is a curse (hear that, Revolutionary Road?)
- "Taking Woodstock" - The cast is great in an odd way. I'm a Paul Dano and Emile Hirsch fan. Then you have Imelda Staunton and Liev Schreiber to provide veteran actor stability. If this film is a success with the Oscars, one or more of these intriguing actors should get a nod. Plus, the writing-directing team of James Schamus and Ang Lee rarely, if ever, fails. A "sure bet" is a total stretch at this point, yet Taking Woodstock is possibly the most promising and...definite? of these five films.
- "The Informant" - Steven Soderbergh's rise back to Oscar love? Perhaps. It has Damon and the writer of The Bourne Ultimatum. The question is: what genre is this, really? It's a comedy. Oscar no-no. Then it's also a crime-drama and a thriller (and this is all according to IMDb and early word...) then it's written by the writer of one of the best action films of the decade. In the end, though, this looks like it will be a quality film, so the genre won't matter if it's just plain good. Damon is my early favorite for Best Actor.
- "The Tree of Life" - It isn't a smart idea to put your money down on Terrence Malick getting Oscar love. Yet the story seems accessible enough for the Oscars to like it. It has a strong cast with Brad Pitt and Sean Penn. It centers around the relationship of a father and son during the fifties. If executed just right, this has sky-high potential.
- "Amelia" - Seems like a cliche choice, just I couldn't resist. It's like the Nelson Mandela movie. It fits a profile of what the Oscars like. I do hope this film can make it far, for I'd like to see long-time director Mira Nair finally get some deserved Oscar recognition. It also has Hilary Swank in the title role (hopefully she won't win her third consecutive Oscar...) and Ewan MacGregor, who may be a lead. Yes, I'd rather Inglorious Basterds fill this spot, but I just cannot see that happening.
These five above films kinda bore me, save for Tree of Life and Taking Woodstock. Yet the fact of the matter is that there is no way I'm right. Maybe that's sounding too definite, but there will certainly be one Slumdogesque movie that we discover at some film festival. And there are plenty of other wild cards, like, maybe, 'Basterds or Where the Wild Things Are or Nine or Away We Go. But for now, I'm going to be general and boring. The thing is, at this point, I have absolutely no clue as to how this year will shape up.
And now, for the next few months, screw the Oscars.
Monday, February 23
YAY or NAY - Oscar Reaction-Style
So the big night came and went, and now it is officially 2009 for me (I know, I'm odd). But that's a good thing. 2008 is over with, for movies, at least. We had our fun, now let us move on.
Enough ramble. The Oscars were on last night. In an effort to dumb it all down for you, I'll do it "Yay" or "Nay" style.
(On a side note: I went 19/24 on my predictions)
The Production - NAY
I was rather impressed with Laurence Mark and Bill Condon's changes to the show, yet I can't say I liked everything they did. The minute they came out and did the Supporting Actresses with all the past winners and all, I was in love with the format. It was smart and blended some history and star power along with suspense as they went through the nominees. Oh, and Tilda Swinton was there, so it was even better.
Yet by the time they got to Lead Actor and Actress and the other categories, I got really bored by the ritual, if you will. It took about five minutes each, but along with the speech and all the build-up, it felt like it took an eternity to just get through one damn category. And some of the gushing by the past winners seemed forced. It was a good idea, but it didn't stay fun for long.
The montages were well-made, but pointless to me. "Why am I seeing clips of HSM3? Or of Twilight? 27 Dresses? Whaaa?" The music synced to the background of them was good, but I just didn't know why they really had to do that. Yes, I know the show is a celebration of 2008 in film. But really it should be good film in 2008. Films that are nominated. Will showing little, subtle clips of Twilight help boost ratings? Maybe, I don't know.
My final gripe, before I say something nice: The stage. I liked the stage in general, don't get me wrong. The crystals on the outer rim of the stage were really pretty and overall is was a colorful stage, which is refreshing. Yet when they would begin to present, say, Costume Design or Makeup, they would put these tacky "back-stage props" out. So when the winner would come up to speak, there would be a little sign saying "Costume Design" or whatever and some props strewn about. That isn't even theatrical, if that's what they were going for. It's just tacky and pointless. Some of the shows dignity and elegance faltered with that. I don't know, it just ticked me off.
I did like the overall format, though. The did stick to their word and "tell a story" throughout the show. The Screenplay presentation was very well-done. The evolution of the whole "How A Film Is Made" thing went along nicely. The pace was great, though I just found it a bit odd that a person or a couple would name a few separate winners or a certain branch of technical categories.
Overall, it was just too different for me. I don't like it semi-theatrical. I like it boring. I like one presenter getting up to the stage, naming the nominees and just saying the winner. No props behind them. Maybe I'm just not used to it, but I felt the elegance of the show was somewhat lost in a few of these changes.
The Host - YAY
I really didn't feel I saw too much of Hugh Jackman, but I think he handled his material well. He was kind of funny, and a good song and dance guy, but he did little else, it seemed. I prefer a comedian, especially Billy Chrystal, to man the mic, but Jackman did pretty well and was entertaining, which is all you really need from a host.
The Best Actor - YAY
Thinking this over, I like the choice. Mickey Rourke was great and I would have loved to see him get up there and give us a whacko speech, but Penn, I felt deserved it, just by the praise he's receiving. More and more, I'm thinking Rourke kind of played himself and the inventiveness of the performance is lost with that. Both gave legendary performances and only one person could win. In the end, I guess Penn deserved it.
The Best Supporting Actor - YAY
No surprise, of course. Ledger rightfully won and his family came up to receive the award. Ledger's mom, dad and sister seemed like a classy group and they were truly the ideal people to accept the award on his behalf. I liked when his father described that the night was a time to celebrate Heath's work and not just mourn his life. The right man won.
The Best Actress - YAY?
I'm happy Winslet won the award - finally. Yet, was this the right performance for her to win it? Maybe. I, unfortunately am yet to see The Reader, but it sort of felt like the Academy just needed to award her, because it's just been too long. I'm sure she gave a great performance, but the bigger deal seems to be made about her just finally winning it. I did love her dad whistling, though!
The Best Supporting Actress - YAY
Penelope Cruz gave a very, very good performance that mixed emotion with humor masterfully. I will say, I would have rathered Marisa Tomei take the gold, but Penelope was extremely deserving. And it's rather refreshing that a comedic performance won last night. I also felt that of all the actors who took the podium, Cruz looked just about the most grateful and amazed of any winner. A joy to watch.
The Best Picture - YAY
Enough ramble. The Oscars were on last night. In an effort to dumb it all down for you, I'll do it "Yay" or "Nay" style.
(On a side note: I went 19/24 on my predictions)
The Production - NAY
I was rather impressed with Laurence Mark and Bill Condon's changes to the show, yet I can't say I liked everything they did. The minute they came out and did the Supporting Actresses with all the past winners and all, I was in love with the format. It was smart and blended some history and star power along with suspense as they went through the nominees. Oh, and Tilda Swinton was there, so it was even better.
Yet by the time they got to Lead Actor and Actress and the other categories, I got really bored by the ritual, if you will. It took about five minutes each, but along with the speech and all the build-up, it felt like it took an eternity to just get through one damn category. And some of the gushing by the past winners seemed forced. It was a good idea, but it didn't stay fun for long.
The montages were well-made, but pointless to me. "Why am I seeing clips of HSM3? Or of Twilight? 27 Dresses? Whaaa?" The music synced to the background of them was good, but I just didn't know why they really had to do that. Yes, I know the show is a celebration of 2008 in film. But really it should be good film in 2008. Films that are nominated. Will showing little, subtle clips of Twilight help boost ratings? Maybe, I don't know.
My final gripe, before I say something nice: The stage. I liked the stage in general, don't get me wrong. The crystals on the outer rim of the stage were really pretty and overall is was a colorful stage, which is refreshing. Yet when they would begin to present, say, Costume Design or Makeup, they would put these tacky "back-stage props" out. So when the winner would come up to speak, there would be a little sign saying "Costume Design" or whatever and some props strewn about. That isn't even theatrical, if that's what they were going for. It's just tacky and pointless. Some of the shows dignity and elegance faltered with that. I don't know, it just ticked me off.
I did like the overall format, though. The did stick to their word and "tell a story" throughout the show. The Screenplay presentation was very well-done. The evolution of the whole "How A Film Is Made" thing went along nicely. The pace was great, though I just found it a bit odd that a person or a couple would name a few separate winners or a certain branch of technical categories.
Overall, it was just too different for me. I don't like it semi-theatrical. I like it boring. I like one presenter getting up to the stage, naming the nominees and just saying the winner. No props behind them. Maybe I'm just not used to it, but I felt the elegance of the show was somewhat lost in a few of these changes.
The Host - YAY
I really didn't feel I saw too much of Hugh Jackman, but I think he handled his material well. He was kind of funny, and a good song and dance guy, but he did little else, it seemed. I prefer a comedian, especially Billy Chrystal, to man the mic, but Jackman did pretty well and was entertaining, which is all you really need from a host.
The Best Actor - YAY
Thinking this over, I like the choice. Mickey Rourke was great and I would have loved to see him get up there and give us a whacko speech, but Penn, I felt deserved it, just by the praise he's receiving. More and more, I'm thinking Rourke kind of played himself and the inventiveness of the performance is lost with that. Both gave legendary performances and only one person could win. In the end, I guess Penn deserved it.
The Best Supporting Actor - YAY
No surprise, of course. Ledger rightfully won and his family came up to receive the award. Ledger's mom, dad and sister seemed like a classy group and they were truly the ideal people to accept the award on his behalf. I liked when his father described that the night was a time to celebrate Heath's work and not just mourn his life. The right man won.
The Best Actress - YAY?
I'm happy Winslet won the award - finally. Yet, was this the right performance for her to win it? Maybe. I, unfortunately am yet to see The Reader, but it sort of felt like the Academy just needed to award her, because it's just been too long. I'm sure she gave a great performance, but the bigger deal seems to be made about her just finally winning it. I did love her dad whistling, though!
The Best Supporting Actress - YAY
Penelope Cruz gave a very, very good performance that mixed emotion with humor masterfully. I will say, I would have rathered Marisa Tomei take the gold, but Penelope was extremely deserving. And it's rather refreshing that a comedic performance won last night. I also felt that of all the actors who took the podium, Cruz looked just about the most grateful and amazed of any winner. A joy to watch.
The Best Picture - YAY
I loved Slumdog Millionaire, if you have yet to notice. A nice, if a bit unrealistic, story with an endearing cast and director at the center of it all. I'm so happy it won. Just when the WHOLE cast went up to stage, and they all looked so proud, I couldn't help but feel elated. I truly think the best film won (of the nominees). This has been said before, but Slumdog had great timing. People needed a film with hope and energy and that's just what Slumdog delivered. It's a good feeling when your #2 film of the year wins the big prize (not the case last year...)
So in comes 2009. I cannot wait. When I saw the new predictions on the sidebar at InContention, I pretty much foamed at the mouth with excitement. Hopefully we get a masterpiece or two in '09.Only This Guy Could Make a Movie Like 'Slumdog'
Congrats to Danny and the rest of the Slumdog crew. I'll have more reaction later today. Loved Penelope winning, Dustin Lance Black's speech, Ledger's family and the production of the show was rather impressive. Overall a good night. More later.
Saturday, February 21
Final, Entire Oscar Predictions
Maybe I'm crazy, yet some interesting happenings seem as though they could occur come Sunday. Yes, Best Picture is easy, also Supporting Actor, but the rest is pretty interesting. For analysis on Original and Adapted Screenplay, Lead and Supporting Actress, Lead and Supporting Actor and Best Picture and Director follow the links. In a way, I'm a tad happy it's all finally wrapping up. 2009 seems like it will be an interesting year for movies. Yet not from an Oscar standpoint. I think what we'll see happening is many movies will pop up and make their way into the race. Kinda like Slumdog's whole story.
Note: Last year, I went 6 for 6 on the acting races, as well as Picture and Director. I intend upon repeating, you understand?!
Also, I'm not terribly educated on all these tech races, so listing snubs and "Should-wins" will be difficult and probably absent. Just a warning.
Best Documentary, Features
Will win: Man on Wire
Should win: Man on Wire
Spoiler: N/A
Snubbed: N/A
Best Foreign Language Film
Will win: Vals Im Bashir (Waltz With Bashir)
Should Win: I wish I knew (might be seeing The Class soon)
Spoiler: Entre les murs (The Class)
Snubbed: N/A
Best Animated Feature of the Year
Will Win: WALL-E
Should Win: WALL-E
Spoiler: This is all WALL-E's.
Snubbed: N/A
Best Achievement in Visual Effects
Will Win: Benjamin Button
Should Win: Benjamin Button
Spoiler: The Dark Knight
Snubbed: None, though Iron Man's FX are kinda lame.
Best Achievement in Sound Editing
Will Win: WALL-E
Should Win: WALL-E
Spoiler: Slumdog Millionaire
Snubbed: N/A
Best Sound
Will Win: Slumdog Millionaire
Should Win: WALL-E
Spoiler: WALL-E
Snubbed: N/A
Best Original Song
Will Win: "Jai Ho"
Should Win: "Jai Ho"
Spoiler: "Down to Earth"
Snubbed: "The Wrestler" for "O Saya"
Best Original Score
Will Win: Slumdog Millionaire
Should Win: Slumdog Millionaire
Spoiler: The Curious Case of Benjamin Button
Snubbed: The Dark Knight (for Defiance)
Best Achievement in Makeup
Will Win: Benjamin Button
Should Win: The Dark Knight
Spoiler: N/A
Snubbed: Tropic Thunder for Hellboy II
Best Achievement in Costume Design
Will Win: The Duchess
Should Win: The Duchess (Milk would be fun, too)
Spoiler: Benjamin Button
Snubbed: Changeling for Revolutionary Road
Best Achievement in Art Direction
Will Win: Benjamin Button
Should Win: Benjamin Button
Spoiler: N/A
Snubbed: N/A
Best Achievement in Editing
Will Win: Slumdog Millionaire
Should Win: The Dark Knight
Spoiler: The Dark Knight
Snubbed: The Wrestler for I don't know, The Reader?
Best Achievement in Cinematography
Will Win: Slumdog Millionaire
Should Win: The Dark Knight
Spoiler: The Dark Knight
Snubbed: I'll be left field and say Burn After Reading. For whom, I don't know.
Best Adapted Screenplay
Will Win: Slumdog Millionaire
Should Win: Slumdog Millionaire
Spoiler: N/A
Snubbed: The Dark Knight
Best Original Screenplay
Will Win: WALL-E
Should Win: Don't know
Spoiler: Milk
Snubbed: The Wrestler
Best Supporting Actress
Will Win: Penelope Cruz
Should Win: Marisa Tomei
Spoiler: Viola Davis
Snubbed: Frances McDormand for Taraji P. Henson, please
Best Supporting Actor
Will Win: Heath Ledger
Should Win: Heath Ledger
Spoiler: Shut up.
Snubbed: N/A
Best Actress
Will Win: Kate Winslet
Should Win: Kate Winslet
Spoiler: Melissa Leo
Snubbed: Cate Blanchett for Jolie
Best Actor
Will Win: Mickey Rourke
Should Win: Mickey Rourke
Spoiler: Sean Penn
Snubbed: N/A (Maybe Brolin for W.)
Best Director
Will Win: Danny Boyle
Should Win: Danny Boyle
Spoiler: David Fincher
Snubbed: Christopher Nolan for Ron Howard
Best Picture
Will Win: Slumdog Millionaire
Should Win: Slumdog Millionaire
Spoiler: Milk
Snubbed: The Dark Knight
Alright, so the emboldened text is my official prediction for the category. We'll see how it all goes. I wasn't too adventurous. I almost thought I had the balls to predict Melissa Leo over The Winslet, but I just couldn't. Sorry.
Enjoy the show. At least try to, okay?
Note: Last year, I went 6 for 6 on the acting races, as well as Picture and Director. I intend upon repeating, you understand?!
Also, I'm not terribly educated on all these tech races, so listing snubs and "Should-wins" will be difficult and probably absent. Just a warning.
Best Documentary, Features
Will win: Man on Wire
Should win: Man on Wire
Spoiler: N/A
Snubbed: N/A
Best Foreign Language Film
Will win: Vals Im Bashir (Waltz With Bashir)
Should Win: I wish I knew (might be seeing The Class soon)
Spoiler: Entre les murs (The Class)
Snubbed: N/A
Best Animated Feature of the Year
Will Win: WALL-E
Should Win: WALL-E
Spoiler: This is all WALL-E's.
Snubbed: N/A
Best Achievement in Visual Effects
Will Win: Benjamin Button
Should Win: Benjamin Button
Spoiler: The Dark Knight
Snubbed: None, though Iron Man's FX are kinda lame.
Best Achievement in Sound Editing
Will Win: WALL-E
Should Win: WALL-E
Spoiler: Slumdog Millionaire
Snubbed: N/A
Best Sound
Will Win: Slumdog Millionaire
Should Win: WALL-E
Spoiler: WALL-E
Snubbed: N/A
Best Original Song
Will Win: "Jai Ho"
Should Win: "Jai Ho"
Spoiler: "Down to Earth"
Snubbed: "The Wrestler" for "O Saya"
Best Original Score
Will Win: Slumdog Millionaire
Should Win: Slumdog Millionaire
Spoiler: The Curious Case of Benjamin Button
Snubbed: The Dark Knight (for Defiance)
Best Achievement in Makeup
Will Win: Benjamin Button
Should Win: The Dark Knight
Spoiler: N/A
Snubbed: Tropic Thunder for Hellboy II
Best Achievement in Costume Design
Will Win: The Duchess
Should Win: The Duchess (Milk would be fun, too)
Spoiler: Benjamin Button
Snubbed: Changeling for Revolutionary Road
Best Achievement in Art Direction
Will Win: Benjamin Button
Should Win: Benjamin Button
Spoiler: N/A
Snubbed: N/A
Best Achievement in Editing
Will Win: Slumdog Millionaire
Should Win: The Dark Knight
Spoiler: The Dark Knight
Snubbed: The Wrestler for I don't know, The Reader?
Best Achievement in Cinematography
Will Win: Slumdog Millionaire
Should Win: The Dark Knight
Spoiler: The Dark Knight
Snubbed: I'll be left field and say Burn After Reading. For whom, I don't know.
Best Adapted Screenplay
Will Win: Slumdog Millionaire
Should Win: Slumdog Millionaire
Spoiler: N/A
Snubbed: The Dark Knight
Best Original Screenplay
Will Win: WALL-E
Should Win: Don't know
Spoiler: Milk
Snubbed: The Wrestler
Best Supporting Actress
Will Win: Penelope Cruz
Should Win: Marisa Tomei
Spoiler: Viola Davis
Snubbed: Frances McDormand for Taraji P. Henson, please
Best Supporting Actor
Will Win: Heath Ledger
Should Win: Heath Ledger
Spoiler: Shut up.
Snubbed: N/A
Best Actress
Will Win: Kate Winslet
Should Win: Kate Winslet
Spoiler: Melissa Leo
Snubbed: Cate Blanchett for Jolie
Best Actor
Will Win: Mickey Rourke
Should Win: Mickey Rourke
Spoiler: Sean Penn
Snubbed: N/A (Maybe Brolin for W.)
Best Director
Will Win: Danny Boyle
Should Win: Danny Boyle
Spoiler: David Fincher
Snubbed: Christopher Nolan for Ron Howard
Best Picture
Will Win: Slumdog Millionaire
Should Win: Slumdog Millionaire
Spoiler: Milk
Snubbed: The Dark Knight
Alright, so the emboldened text is my official prediction for the category. We'll see how it all goes. I wasn't too adventurous. I almost thought I had the balls to predict Melissa Leo over The Winslet, but I just couldn't. Sorry.
Enjoy the show. At least try to, okay?
Friday, February 20
That sound you hear is my head hitting the ceiling.
Below is the track 'Summer Overture' by Clint Mansell, as witnessed in Requiem For A Dream. I've probably listened to the song...I wanna say 30 times since I saw the film on Wednesday.
The films I like the most are the ones that I describe as mind-blowing after I've seen them. If a movie blows your facking mind, as in makes you feel and makes you go to places to which you never thought possible, you've probably seen a good movie. A great movie. Or at least one that affected you monumentally. I remember when I saw Network for the first time last year and then One Flew Over The Cuckoo's Nest. I recall just being in a state of shock and awe. I felt the same way with Aronofsky's film. And if a film, after you watch, puts you in a really sorrowful and depressed mood, something is up. You might have just watched something great. (I remember that feeling after Grave of the Fireflies.)
So, yeah, I kinda fricking loved it. I urge you to see it. Do yourself a favor. You've probably already seen it, but whatever. Put yourself through it again. I doubt it'll lose its effect. Even just see it for Ellen Burnstyn's incredible performance. SHE TRANSFORMED. And listen to Mansell's score. I almost have trouble listening to it now, because it brings me back to all the insanity and hell on Earth that I saw in the film. Damn.
The films I like the most are the ones that I describe as mind-blowing after I've seen them. If a movie blows your facking mind, as in makes you feel and makes you go to places to which you never thought possible, you've probably seen a good movie. A great movie. Or at least one that affected you monumentally. I remember when I saw Network for the first time last year and then One Flew Over The Cuckoo's Nest. I recall just being in a state of shock and awe. I felt the same way with Aronofsky's film. And if a film, after you watch, puts you in a really sorrowful and depressed mood, something is up. You might have just watched something great. (I remember that feeling after Grave of the Fireflies.)
So, yeah, I kinda fricking loved it. I urge you to see it. Do yourself a favor. You've probably already seen it, but whatever. Put yourself through it again. I doubt it'll lose its effect. Even just see it for Ellen Burnstyn's incredible performance. SHE TRANSFORMED. And listen to Mansell's score. I almost have trouble listening to it now, because it brings me back to all the insanity and hell on Earth that I saw in the film. Damn.
Wednesday, February 18
The 11 Most Deserving Oscar Wins of the New Millenium
Thanks to J.D of Valley Dreaming for coming up with this great idea that is perfect for this Oscar-heavy week I'm stringing together. So these upcoming performances, technical achievements, films, et cetera all made me grin with joy as they were awarded on Oscar night. In these instances, the right person won. Hopefully, the same happens on Sunday.
11. Chris Cooper, Best Supporting Actor (Adaptation, 2002)
Though he wasn't as great as Streep in Adaptation, Cooper performed in a way I never would have expected to see him. He totally became this ridiculous, sometimes comedic, role of LaRoche. A perfect example of an actor just falling into their character and becoming them. Great performance, and one that I'm surprised the Academy honored.
10. Finding Nemo, Animated Feature Film (2003)
The best animated film ever, in my opinion, even though I'm not a total animation fan. Yet, Finding Nemo is pure storytelling, at its finest. The screenplay is Oscar worthy, the film is pretty and Ellen Degeneres gives an inspired performance. One of the better films of the decade.
9. Lose Yourself, Best Original Song (8 Mile, 2002)
The musical anthem of 2002. And to think the Academy gave it the win. I forgot how good of a song this is. Gotta get onto YouTube right now and listen.
8. A Beautiful Mind, Best Picture (2001)
Many people give this film bullshit for winning, as it comes across plainly, not very artistic, in some ways. Even I have given Ron Howard some shit this year, for all the Frost/Nixon...love? I guess. Anyway, A Beautiful Mind is a simple film, yes, and not at all flashy. Yet, the story is executed perfectly and Crowe gives the best performance of his career. A great character piece and it deserved to come out on top.
7. There Will Be Blood, Best Cinematography (2007)
What was so stunning about Robert Elswit's cinematography in There Will Be Blood was that it conveyed the frenetic manner of the film. All of the shots were a bit off-kilter and bare. In a way, that's how the film conducted itself. It's a tricky combination of bluntness and crazy, and I felt Elswit displayed that in his photography. TWBB also should have taken home the Art Direction prize (and every other award...)
6. Diablo Cody, Best Original Screenplay (Juno, 2007)
I think everyone, by now, has gotten rather bored of Diablo Cody, but we can't forget how great of a screenplay Juno was. Yes, the dialogue may annoy you at times, but I thought it was witty and it helped create and reflect the character of Juno MacGuff. And the story wasn't all fun and games. Cody added an appropriate amount of drama, as well.
5. Bowling For Columbine, Best Documentary Feature (2002)
You wouldn't think a documentary about guns would be so entertaining, funny and daring. It's one of those films, that, as you watched, you could sense the director was totally on their game. Moore hit all the correct notes, blending the sorrow of the subject matter with fascinating history and some comedic, wacky moments (the whole part when Moore's in Canada is pretty odd).
11. Chris Cooper, Best Supporting Actor (Adaptation, 2002)
Though he wasn't as great as Streep in Adaptation, Cooper performed in a way I never would have expected to see him. He totally became this ridiculous, sometimes comedic, role of LaRoche. A perfect example of an actor just falling into their character and becoming them. Great performance, and one that I'm surprised the Academy honored.
10. Finding Nemo, Animated Feature Film (2003)
The best animated film ever, in my opinion, even though I'm not a total animation fan. Yet, Finding Nemo is pure storytelling, at its finest. The screenplay is Oscar worthy, the film is pretty and Ellen Degeneres gives an inspired performance. One of the better films of the decade.
9. Lose Yourself, Best Original Song (8 Mile, 2002)
The musical anthem of 2002. And to think the Academy gave it the win. I forgot how good of a song this is. Gotta get onto YouTube right now and listen.
8. A Beautiful Mind, Best Picture (2001)
Many people give this film bullshit for winning, as it comes across plainly, not very artistic, in some ways. Even I have given Ron Howard some shit this year, for all the Frost/Nixon...love? I guess. Anyway, A Beautiful Mind is a simple film, yes, and not at all flashy. Yet, the story is executed perfectly and Crowe gives the best performance of his career. A great character piece and it deserved to come out on top.
7. There Will Be Blood, Best Cinematography (2007)
What was so stunning about Robert Elswit's cinematography in There Will Be Blood was that it conveyed the frenetic manner of the film. All of the shots were a bit off-kilter and bare. In a way, that's how the film conducted itself. It's a tricky combination of bluntness and crazy, and I felt Elswit displayed that in his photography. TWBB also should have taken home the Art Direction prize (and every other award...)
6. Diablo Cody, Best Original Screenplay (Juno, 2007)
I think everyone, by now, has gotten rather bored of Diablo Cody, but we can't forget how great of a screenplay Juno was. Yes, the dialogue may annoy you at times, but I thought it was witty and it helped create and reflect the character of Juno MacGuff. And the story wasn't all fun and games. Cody added an appropriate amount of drama, as well.
5. Bowling For Columbine, Best Documentary Feature (2002)
You wouldn't think a documentary about guns would be so entertaining, funny and daring. It's one of those films, that, as you watched, you could sense the director was totally on their game. Moore hit all the correct notes, blending the sorrow of the subject matter with fascinating history and some comedic, wacky moments (the whole part when Moore's in Canada is pretty odd).
4. Daniel Day-Lewis, Best Actor (There Will Be Blood, 2007)
An epic performance that made a very good film into a great one. No one else deserved to win the award in 2008, but DDL. Possibly the best lead performance of the decade (that's a conversation for another day...)
3. Javier Bardem, Best Supporting Actor (No Country For Old Men, 2007)
Bardem played Chigurh as simply as he needed to. He's a cold-blooded killer. He doesn't need to add much more oo him, and Bardem didn't, which I found pretty bold. An every time-they-are-in-a-scene-the-film-gets-100-times-better-type performance.
2. Million Dollar Baby, Best Picture (2004)
One of my favorite films of the decade. Stop groaning, assholes. So I wouldn't say everyone finds this to be the greatest film, and neither do I, but I still thought it was a semi-masterpiece. Swank gives a good performance (maybe not Oscar-worthy) and Eastwood directs perfectly. It's a sweet story with one of the saddest endings of the decade. Overall, a beautifully-made film.
1. Charlie Kaufman, Michel Gondry, Pierre Bismuth - Best Original Screenplay (Eternal Sunshine...2004)
Ingenious is the ideal word that describes this screenplay. It's so smart, yet also funny, poignant and just, just...awesome. The best film of the decade, the best story and certainly the best script. A massive, massive achievement.
Monday, February 16
The Main Event - Oscar Winner Predictions
Best Picture
The Curious Case of Benjamin Button
Pro: After handing out a ridiculous 13 noms, the Academy proved that they dig Benjamin Button. And really, isn't this the ultimate Oscar Darling Film?
Con: The film never delivered like many (ME) thought. Also, it's playing the always-a-nominee, but never-a-winner role with the precursors. Will the Oscars be any different?
Frost/Nixon
Pro: Such an Academy friendly film. Big, showy performances, a big-name director, it's boring, middle-brow. It all adds up.
Con: I tend to always forget this film out of the five nominated. And once I remember the this fifth nominee, I roll my eyes and get out The Dark Knight DVD. The film just lacks the creativity, and excitement of the other nominees.
Milk
Pro: It's a biopic with a strong script and leading performance. Maybe the best reviewed film of the bunch (yes, some critics aren't going ass-over-elbow for Slumdog, believe it or not). Everyone is pretty impressed with the overall package.
Con: It could be too cool or relevant for the Academy. Plus, the buzz may be building too late.
The Reader
Pro: Harvey Weinstein is starting to work his magic, I guess. At least that's what Entertainment Weekly is thinking. The truth is, slowly The Reader is catapulting into the third most likely scenario. I can almost see this upset happening and not automatically start thinking I'm dreaming/hallucinating.
Con: First, it just might not be good enough. The reviews aren't stunning. Plus, most of America still doesn't know about The Reader. Plain and simple, the film is yet to gain enough steam. And, um, the show is less than a week away.
Slumdog Millionaire
Pro: The media and many people love the damn film (the ones who aren't trying to tear down the film that is clearly the best by joining in on nauseating backlash). The reviews are great and the cast and director are so endearing. The cuteness will pay off, Dev and Freida. Also, the film has kicked arse in the precursors.
Con: Little is against Slumdog at this point. The backlash is not strong enough to take it down (I don't think...) The film may be too foreign for the Academy, which, I know, sounds odd.
Winner: Slumdog Millionaire
But, be aware, a Milk upset it very likely. Wait, then it's not an upset, is it? I'm just adding this so that in the end, everyone will be like, "Mark called this all along..." Yeah, but Slumdog will win. And Danny Boyle will also take home the prize for Best Director.
The Curious Case of Benjamin Button
Pro: After handing out a ridiculous 13 noms, the Academy proved that they dig Benjamin Button. And really, isn't this the ultimate Oscar Darling Film?
Con: The film never delivered like many (ME) thought. Also, it's playing the always-a-nominee, but never-a-winner role with the precursors. Will the Oscars be any different?
Frost/Nixon
Pro: Such an Academy friendly film. Big, showy performances, a big-name director, it's boring, middle-brow. It all adds up.
Con: I tend to always forget this film out of the five nominated. And once I remember the this fifth nominee, I roll my eyes and get out The Dark Knight DVD. The film just lacks the creativity, and excitement of the other nominees.
Milk
Pro: It's a biopic with a strong script and leading performance. Maybe the best reviewed film of the bunch (yes, some critics aren't going ass-over-elbow for Slumdog, believe it or not). Everyone is pretty impressed with the overall package.
Con: It could be too cool or relevant for the Academy. Plus, the buzz may be building too late.
The Reader
Pro: Harvey Weinstein is starting to work his magic, I guess. At least that's what Entertainment Weekly is thinking. The truth is, slowly The Reader is catapulting into the third most likely scenario. I can almost see this upset happening and not automatically start thinking I'm dreaming/hallucinating.
Con: First, it just might not be good enough. The reviews aren't stunning. Plus, most of America still doesn't know about The Reader. Plain and simple, the film is yet to gain enough steam. And, um, the show is less than a week away.
Slumdog Millionaire
Pro: The media and many people love the damn film (the ones who aren't trying to tear down the film that is clearly the best by joining in on nauseating backlash). The reviews are great and the cast and director are so endearing. The cuteness will pay off, Dev and Freida. Also, the film has kicked arse in the precursors.
Con: Little is against Slumdog at this point. The backlash is not strong enough to take it down (I don't think...) The film may be too foreign for the Academy, which, I know, sounds odd.
Winner: Slumdog Millionaire
But, be aware, a Milk upset it very likely. Wait, then it's not an upset, is it? I'm just adding this so that in the end, everyone will be like, "Mark called this all along..." Yeah, but Slumdog will win. And Danny Boyle will also take home the prize for Best Director.
The Gentlemen - Oscar Winner Predictions
Best Lead Actor
Richard Jenkins, The Visitor
Pro: Jenkins gave a subtle, lived-in performance, giving the audience a complex character for whom we rooted. Simply with the nomination, the Academy agreed with the masses: they loved Jenkins's performance.
Con: Jenkins is a guy whom we all feel we've seen before, yet we can't remember how. He's a newby to Oscar fame and the performance just isn't BIG enough for the win.
Frank Langella, Frost/Nixon
Pro: It's a biopic performance, and a good one at that. The Academy respects this kind of performance, especially if Ron Howard is somehow attached. A Russell Crowe in A Beautiful Mind-type scenario.
Con: Would have given the Biopic Performance of the Year, hadn't Sean Penn hit a home run with his portrayal of Harvey Milk. Like his film, Langella's performance got lost in the shuffle of a great category.
Sean Penn, Milk
Pro: Penn brought a hero to screen perfectly in a Best Picture nominee and (serious?) contender. It's a performance in which we love the character, which is always a plus. And, again, it's a true man brought to screen.
Con: To think homophobia no longer lingers within the Academy's branches is just naive. The performance is gay, period. Wouldn't the Academy rather award (the more likeable?!) Richard Nixon or even a broken down wrestler?
Brad Pitt, Benjamin Button
Pro: Pitt's performance in the centerpiece of the 13-nominee juggernaut. He IS the famed Benjamin Button. Pitt, at least I thought, succeeded admirably in bringing a soon-to-be iconic role that wasn't really a piece of cake to the screen. Very solid.
Con: Most of it's bullshit. No, not really. But the performance isn't what you'd call organic acting. CGI, makeup and robots (no, I made that up...) brought this performance to the screen. The performance may not come across authentic.
Mickey Rourke, The Wrestler
Pro: It's the comeback story of the year, no question. Not just in movies. The Academy should expect a moving, funny speech if they're to award him. And the performance is stunning, so why the hell not?
Con: First off, there's a reason this is all a comeback. Rourke will be the first on to tell you that he pissed off many people when he threw his career down the shitter. Will voters really admire someone who screwed up so badly? Also, Sean Penn. No more words needed.
Winner: Rourke
Best Supporting Actor
Josh Brolin, Milk
Pro: Basically, everyone thinks this is really good acting, and Brolin is lately, just the man. (He might have deserved a nomination over Pitt for W.) He may be riding the most successful recent body of work in Hollywood.
Con: Heathcliff Ledger.
Robert Downey Jr., Tropic Thunder
Pro: A rather brave performance that was executed well in one of the best comedies of the year. Pretty much the best comedic performance of 2008. And RDJ has just had a hell of a year, on top of that.
Con: Well, it is a comedic performance, which automatically makes things harder.
Phillip Seymour Hoffman, Doubt
Pro: It was a very in-your-face, complicated portrayal that had you constantly engaged. PSH is a respected and talented actor that the Academy wouldn't mind awarding.
Con: Hoffman has been totally igonred due to the fact that his whole, fellow cast is actually competitive in their categories. Oh yeah, and there's...
Heath Ledger, The Dark Knight
Pro: Well, he did give an iconic, legendary performance. He was coming off of another brilliant performance (and nomination) in 2005. He did die tragically young, setting the stage for one of the most poignant recognintions in Academy history. I could go on and on, really.
Con: Sorry, I've got nothing.
Michael Shannon, Revolutionary Road
Pro: A nice underdog story from a hard-working actor. He gave an interesting, lively performance that apparently brought immediate life to the screen when he entred the frame.
Con: Let's just say, if he won, it would be the biggest upset ever.
Winner: Ledger
Richard Jenkins, The Visitor
Pro: Jenkins gave a subtle, lived-in performance, giving the audience a complex character for whom we rooted. Simply with the nomination, the Academy agreed with the masses: they loved Jenkins's performance.
Con: Jenkins is a guy whom we all feel we've seen before, yet we can't remember how. He's a newby to Oscar fame and the performance just isn't BIG enough for the win.
Frank Langella, Frost/Nixon
Pro: It's a biopic performance, and a good one at that. The Academy respects this kind of performance, especially if Ron Howard is somehow attached. A Russell Crowe in A Beautiful Mind-type scenario.
Con: Would have given the Biopic Performance of the Year, hadn't Sean Penn hit a home run with his portrayal of Harvey Milk. Like his film, Langella's performance got lost in the shuffle of a great category.
Sean Penn, Milk
Pro: Penn brought a hero to screen perfectly in a Best Picture nominee and (serious?) contender. It's a performance in which we love the character, which is always a plus. And, again, it's a true man brought to screen.
Con: To think homophobia no longer lingers within the Academy's branches is just naive. The performance is gay, period. Wouldn't the Academy rather award (the more likeable?!) Richard Nixon or even a broken down wrestler?
Brad Pitt, Benjamin Button
Pro: Pitt's performance in the centerpiece of the 13-nominee juggernaut. He IS the famed Benjamin Button. Pitt, at least I thought, succeeded admirably in bringing a soon-to-be iconic role that wasn't really a piece of cake to the screen. Very solid.
Con: Most of it's bullshit. No, not really. But the performance isn't what you'd call organic acting. CGI, makeup and robots (no, I made that up...) brought this performance to the screen. The performance may not come across authentic.
Mickey Rourke, The Wrestler
Pro: It's the comeback story of the year, no question. Not just in movies. The Academy should expect a moving, funny speech if they're to award him. And the performance is stunning, so why the hell not?
Con: First off, there's a reason this is all a comeback. Rourke will be the first on to tell you that he pissed off many people when he threw his career down the shitter. Will voters really admire someone who screwed up so badly? Also, Sean Penn. No more words needed.
Winner: Rourke
Best Supporting Actor
Josh Brolin, Milk
Pro: Basically, everyone thinks this is really good acting, and Brolin is lately, just the man. (He might have deserved a nomination over Pitt for W.) He may be riding the most successful recent body of work in Hollywood.
Con: Heathcliff Ledger.
Robert Downey Jr., Tropic Thunder
Pro: A rather brave performance that was executed well in one of the best comedies of the year. Pretty much the best comedic performance of 2008. And RDJ has just had a hell of a year, on top of that.
Con: Well, it is a comedic performance, which automatically makes things harder.
Phillip Seymour Hoffman, Doubt
Pro: It was a very in-your-face, complicated portrayal that had you constantly engaged. PSH is a respected and talented actor that the Academy wouldn't mind awarding.
Con: Hoffman has been totally igonred due to the fact that his whole, fellow cast is actually competitive in their categories. Oh yeah, and there's...
Heath Ledger, The Dark Knight
Pro: Well, he did give an iconic, legendary performance. He was coming off of another brilliant performance (and nomination) in 2005. He did die tragically young, setting the stage for one of the most poignant recognintions in Academy history. I could go on and on, really.
Con: Sorry, I've got nothing.
Michael Shannon, Revolutionary Road
Pro: A nice underdog story from a hard-working actor. He gave an interesting, lively performance that apparently brought immediate life to the screen when he entred the frame.
Con: Let's just say, if he won, it would be the biggest upset ever.
Winner: Ledger
Sunday, February 15
Oscar Week Begins
So this upcoming week will be full of Oscar speculation, etc. I still have to analyze and predict the actor categories, as well as Picture and Director. I'll also be going over all the techs, which you should really wish me luck on. I'll need to do some research. A comprehensive index of predictions will be coming out the day of, which should be fun. And, you know, if I get a creative kick, I'll throw in some more random Oscar-related shit. I'm free of school this week, so I'll have some time on my hands to be Oscar-obsessed.
So stay tuned. The big day is only a week away!
So stay tuned. The big day is only a week away!
"The fact that the Oscars are a week away, makes me kind of feel like the king of the world."
Genius
Gradually, Chaplin is becoming one of my favorite actors and directors. 'Modern Times" was unsurprisingly brilliant. Just all of Chaplin's facial expressions are so spot on and perfect. Ugh, I urge all of you to experience his work if you haven't already. 'City Lights' has one of the best endings I've ever witnessed. Perfection.
Saturday, February 14
Lost in the Shuffle - Episode 2
Really, the best way to see one's taste in music is to take a gander at their iPod via Shuffle. Of the 3000 songs and growing, if I shuffle it up ten times, something good must come up, right?
1. Anytime by My Morning Jacket
I love My Morning Jacket more and more with each listen. This is one of the better songs off of their best album, Z. It almost has a country twang to it, but it doesn't suck. Rating: 4 (out of 5)
2. Electrolite by R.E.M.
I'm not a huge R.E.M. fan, to be honest. Some of their essentials are good, but songs like this are just too plain for my liking. Rating: 2
3. Isis by Bob Dylan
My goal is to like Bob Dylan someday. I just don't have the time to give him a chance. I have hundreds of his songs, yet I never, ever listen to him. This song is just okay. Rating: 3
4. Talking to Mary by Elliot Smith
More Elliot Smith. I actually haven't heard this one before. Lemme see...*listening*...okay. Yep, it's subtle, understated and simply nice. Rating: 4
5. Lazy Flies by Beck
I actually forgot that I have Mutations. Remind me to listen to it more. This song is pretty good, with interesting "flavor." Cheesy, I know. But the song has great sound. Do we expect anything less from Beck? Rating: 5
6. Puffy Cloud by Ween
My brother always encourages me to get into Ween, but I always find myself rather intimidated. Little more than grunting, lazy lyrics and guitar strumming this song pretty much shit. Yet, for some reason, I'm rather compelled. Just a little. Rating: 3
7. Piggies by The Beatles
Good fun. But not that fun. A bit more complex than it first lets on. Rating: 4
8. Yawny At the Apocolypse by Andrew Bird
I'm yet to discover the awesomeness of Andrew Bird. This song is so ridiculously peaceful and so ridiculously boring. It's forced into the background of whatever you're doing while listening. Rating: 2
9. Caroline Says I by Lou Reed
Well first of all, I don't like that it's live. Yet it is lively. Though not really my kind of song. I respect it, but I wouldn't listen to it voluntarily. Rating: 3
10. On the Road to Find Out by Cat Stevens
Talk about a distinctive musician. From the first note, you can tell whether or not you're listening to a Cat Stevens song. Why does it remind me of Phil Collins? Anyway, yeah, the song never really goes to a place that it should. Whatever the hell that means. Rating: 3
Average Rating: 3.3
1. Anytime by My Morning Jacket
I love My Morning Jacket more and more with each listen. This is one of the better songs off of their best album, Z. It almost has a country twang to it, but it doesn't suck. Rating: 4 (out of 5)
2. Electrolite by R.E.M.
I'm not a huge R.E.M. fan, to be honest. Some of their essentials are good, but songs like this are just too plain for my liking. Rating: 2
3. Isis by Bob Dylan
My goal is to like Bob Dylan someday. I just don't have the time to give him a chance. I have hundreds of his songs, yet I never, ever listen to him. This song is just okay. Rating: 3
4. Talking to Mary by Elliot Smith
More Elliot Smith. I actually haven't heard this one before. Lemme see...*listening*...okay. Yep, it's subtle, understated and simply nice. Rating: 4
5. Lazy Flies by Beck
I actually forgot that I have Mutations. Remind me to listen to it more. This song is pretty good, with interesting "flavor." Cheesy, I know. But the song has great sound. Do we expect anything less from Beck? Rating: 5
6. Puffy Cloud by Ween
My brother always encourages me to get into Ween, but I always find myself rather intimidated. Little more than grunting, lazy lyrics and guitar strumming this song pretty much shit. Yet, for some reason, I'm rather compelled. Just a little. Rating: 3
7. Piggies by The Beatles
Good fun. But not that fun. A bit more complex than it first lets on. Rating: 4
8. Yawny At the Apocolypse by Andrew Bird
I'm yet to discover the awesomeness of Andrew Bird. This song is so ridiculously peaceful and so ridiculously boring. It's forced into the background of whatever you're doing while listening. Rating: 2
9. Caroline Says I by Lou Reed
Well first of all, I don't like that it's live. Yet it is lively. Though not really my kind of song. I respect it, but I wouldn't listen to it voluntarily. Rating: 3
10. On the Road to Find Out by Cat Stevens
Talk about a distinctive musician. From the first note, you can tell whether or not you're listening to a Cat Stevens song. Why does it remind me of Phil Collins? Anyway, yeah, the song never really goes to a place that it should. Whatever the hell that means. Rating: 3
Average Rating: 3.3
Wednesday, February 11
The Ladies - Oscar Winner Predictions
Best Lead Actress
Anne Hathaway, Rachel Getting Married
Pro: A breakout role that is considered the star of a critical darling. I am sure the Academy would love to award a young star who gave a career-defining performance.
Con: The Academy could have a "maybe next time..." approach to awarding Hathaway. She's a young gun and will most likely have another chance at taking the prize in the future. Also, the Academy snubbed RGM in many other categories, so if the Academy doesn't like the film, why would they award its actress?
Angelina Jolie, Changeling
Pro: She gave a respected performance in A Clint Eastwood Film. That always counts for something. Also, Jolie really !ACTED! Tears! Yelling! Looking like a hot mess! Accusations of insanity! They love it all.
Con: Really, no one thinks of Jolie as being better than Winslet or Streep or Leo or even Hathaway in this category. She's really not even close to being a favorite.
Melissa Leo, Frozen River
Pro: Everyone, yes everyone, loves this understated, subtle performance. Everyone. Her film, just like her performance, has gained momentum (aka Oscar Love) in the past few weeks. If La Streep and Dame Winslet split the vote, Leo may just nab the win.
Con: The film is still small compared to Doubt and Changeling and all of that. I can't see some voters want to award a "no-name" over talk-of-the-town Winslet.
Kate Winslet, The Reader
Pro: She garnered two goddam Golden Globes (I added the 'garner' for alliteration's sake). This woman is clearly "on fire." The performance is considered really good to great and, come on, we've been marking this year down as Kate's Year for awhile now.
Con: Thank Harvey Weinstein if this perfect storm blows over. He pushed and shoved to get The Reader in and with that the performance was thrown into Lead which is probably tougher. The chances of a win were halved when she didn't get the double nods.
Meryl Streep, Doubt
Pro: Everyone is suddenly like, "Wait, Meryl hasn't won an Oscar in, like, three decades. GIVE HER ONE." And the great acceptance speeches and red carpet presence has only boosted the We Love Her level. So everyone is pro-Streep at the moment. Oh, and the performance is killer.
Con: Though I loved her performance, not everyone else did. There were a few detractors. This category is also tough for her facing off with Winslet.
Winner: Winslet
Best Supporting Actress
Amy Adams, Doubt
Pro: Adams is one of the most well-liked in Hollywood and among film fans. She followed up a handful of other great work with a very solid turn in Doubt. The Academy may want to elevate Adams to Oscar-winner status.
Con: In a cast of WHOA performances, Adams's was a bit more subtle and quiet, maybe?
Penelope Cruz, Vicky Christina Barcelona
Pro: She's winning a bunch of precursors and unending praise. Is thought of as the best part of Allen's acclaimed film. A very in-your-face, unique performances.
Con: Having been the frontrunner for awhile, voters might want to stir the pot a bit. It doesn't necessarily strike me as an Academy-friendly performance.
Viola Davis, Doubt
Pro: Davis gave the definition of a scene-stealing performance. She sobbed her eyes out, stuck it to bitchy nun Meryl and had snot draining out of her nose (TMI, maybe?)
Con: It is such a great performance, but it's too damn short. Is it at the level of Beatrice Straight's tongue lashing in Network, that even if the performance is only five minutes, it's still worthy of a trophy?
Taraji P. Henson, The Curious Case of Benjamin Button
Pro: It's a crucial and well-executed performance in one of Oscar's most beloved movies ever (how, again?) She was almost the only character that even attempted to elecit some feeling from the audience.
Con: It was lightweight, maybe? It seemed like a relatively easy performance and didn't have too much impact. Certainly not my idea of Oscar-worthy.
Marisa Tomei, The Wrestler
Pro: Stripper with a heart o' gold routine which is always a treat for the Academy. Plus, Tomei brings complexity and beauty to this gutsy performance ("Brave" as Mickey Rourke says...) Plus, some think this is the best performance of the year, by anyone.
Con: Tomei's biggest con is that she's won before (scandalously). It's an unfair trick by the Academy, but after a third nom, a second win is a no-no.
Winner: Cruz
Anne Hathaway, Rachel Getting Married
Pro: A breakout role that is considered the star of a critical darling. I am sure the Academy would love to award a young star who gave a career-defining performance.
Con: The Academy could have a "maybe next time..." approach to awarding Hathaway. She's a young gun and will most likely have another chance at taking the prize in the future. Also, the Academy snubbed RGM in many other categories, so if the Academy doesn't like the film, why would they award its actress?
Angelina Jolie, Changeling
Pro: She gave a respected performance in A Clint Eastwood Film. That always counts for something. Also, Jolie really !ACTED! Tears! Yelling! Looking like a hot mess! Accusations of insanity! They love it all.
Con: Really, no one thinks of Jolie as being better than Winslet or Streep or Leo or even Hathaway in this category. She's really not even close to being a favorite.
Melissa Leo, Frozen River
Pro: Everyone, yes everyone, loves this understated, subtle performance. Everyone. Her film, just like her performance, has gained momentum (aka Oscar Love) in the past few weeks. If La Streep and Dame Winslet split the vote, Leo may just nab the win.
Con: The film is still small compared to Doubt and Changeling and all of that. I can't see some voters want to award a "no-name" over talk-of-the-town Winslet.
Kate Winslet, The Reader
Pro: She garnered two goddam Golden Globes (I added the 'garner' for alliteration's sake). This woman is clearly "on fire." The performance is considered really good to great and, come on, we've been marking this year down as Kate's Year for awhile now.
Con: Thank Harvey Weinstein if this perfect storm blows over. He pushed and shoved to get The Reader in and with that the performance was thrown into Lead which is probably tougher. The chances of a win were halved when she didn't get the double nods.
Meryl Streep, Doubt
Pro: Everyone is suddenly like, "Wait, Meryl hasn't won an Oscar in, like, three decades. GIVE HER ONE." And the great acceptance speeches and red carpet presence has only boosted the We Love Her level. So everyone is pro-Streep at the moment. Oh, and the performance is killer.
Con: Though I loved her performance, not everyone else did. There were a few detractors. This category is also tough for her facing off with Winslet.
Winner: Winslet
Best Supporting Actress
Amy Adams, Doubt
Pro: Adams is one of the most well-liked in Hollywood and among film fans. She followed up a handful of other great work with a very solid turn in Doubt. The Academy may want to elevate Adams to Oscar-winner status.
Con: In a cast of WHOA performances, Adams's was a bit more subtle and quiet, maybe?
Penelope Cruz, Vicky Christina Barcelona
Pro: She's winning a bunch of precursors and unending praise. Is thought of as the best part of Allen's acclaimed film. A very in-your-face, unique performances.
Con: Having been the frontrunner for awhile, voters might want to stir the pot a bit. It doesn't necessarily strike me as an Academy-friendly performance.
Viola Davis, Doubt
Pro: Davis gave the definition of a scene-stealing performance. She sobbed her eyes out, stuck it to bitchy nun Meryl and had snot draining out of her nose (TMI, maybe?)
Con: It is such a great performance, but it's too damn short. Is it at the level of Beatrice Straight's tongue lashing in Network, that even if the performance is only five minutes, it's still worthy of a trophy?
Taraji P. Henson, The Curious Case of Benjamin Button
Pro: It's a crucial and well-executed performance in one of Oscar's most beloved movies ever (how, again?) She was almost the only character that even attempted to elecit some feeling from the audience.
Con: It was lightweight, maybe? It seemed like a relatively easy performance and didn't have too much impact. Certainly not my idea of Oscar-worthy.
Marisa Tomei, The Wrestler
Pro: Stripper with a heart o' gold routine which is always a treat for the Academy. Plus, Tomei brings complexity and beauty to this gutsy performance ("Brave" as Mickey Rourke says...) Plus, some think this is the best performance of the year, by anyone.
Con: Tomei's biggest con is that she's won before (scandalously). It's an unfair trick by the Academy, but after a third nom, a second win is a no-no.
Winner: Cruz
Monday, February 9
Sunday, February 8
Clueless Grammy Predictions and Preferances
Okay, so I have to jam this thing out in like an hour. Wish me luck. I'm not nearly as knowledgable about the in's and out's of the Grammys, compared to the Oscars. I don't know all the politics of it and I really don't know the difference between Record or Song of the Year (song = songwriting, eh?). Well, whatever, here we go with the big categories:
Record of the Year
Will win: Viva La Vida, Coldplay
Should win: Viva La Vida, Coldpay
Viva La Vida was the musical event of 2008. Everywhere, in politics, TV, the radio - no duh, Guitar Hero, where ever you looked, Viva La Vida was at the center of it all. A phenomenon and one hell of a tune.
Album of the Year
Will win: Viva La Vida or Death and All His Friends, Coldplay
Should Win: In Rainbows by Radiohead
A bunch of hits came off of Viva La Vida (the album) so it's certainly worthy of taking the prize. Yet, the pure artistry of In Rainbows, such a critically acclaimed album, makes it hard for me to root for any other album.
Song of the Year
Will win: Viva La Vida, Coldplay
Should win: I'm Yours, Jason Mraz
Continuing the Coldplay sweep, Viva La Vida is probably the definitive song of this year. Yet, the sincere lyrics of I'm Yours can never really get out of my head. One catchy-ass song.
Best New Artist
Will win: Adele
Should win: Adele
Really weak field, in my opinion. To think, last year Winehouse, Feist and Paramore were all involved, is pretty mind-blowing. I don't know much about Adele, only that she's a big deal. So yeah, I pick her, I guess.
So the Grammys are always really entertaining, with top-notch performances (though the "Look! It's a modern mainstream star performing with a legend!"-type performance get a bit old). Simply one word will descirbe the night: Coldplay
Record of the Year
Will win: Viva La Vida, Coldplay
Should win: Viva La Vida, Coldpay
Viva La Vida was the musical event of 2008. Everywhere, in politics, TV, the radio - no duh, Guitar Hero, where ever you looked, Viva La Vida was at the center of it all. A phenomenon and one hell of a tune.
Album of the Year
Will win: Viva La Vida or Death and All His Friends, Coldplay
Should Win: In Rainbows by Radiohead
A bunch of hits came off of Viva La Vida (the album) so it's certainly worthy of taking the prize. Yet, the pure artistry of In Rainbows, such a critically acclaimed album, makes it hard for me to root for any other album.
Song of the Year
Will win: Viva La Vida, Coldplay
Should win: I'm Yours, Jason Mraz
Continuing the Coldplay sweep, Viva La Vida is probably the definitive song of this year. Yet, the sincere lyrics of I'm Yours can never really get out of my head. One catchy-ass song.
Best New Artist
Will win: Adele
Should win: Adele
Really weak field, in my opinion. To think, last year Winehouse, Feist and Paramore were all involved, is pretty mind-blowing. I don't know much about Adele, only that she's a big deal. So yeah, I pick her, I guess.
So the Grammys are always really entertaining, with top-notch performances (though the "Look! It's a modern mainstream star performing with a legend!"-type performance get a bit old). Simply one word will descirbe the night: Coldplay
Saturday, February 7
The Scripts - Oscar Winner Predictions
Best Original Screenplay
A fairly wide-open field with no huge favorite, but a pretty quick process of elimination can widdle this baby down.
Frozen River by Courtney Hunt
Pro: One of the most acclaimed indies of the year and it's very, very indie. And sometimes the Academy likes to believe that the indie-r the film, the better the script.
Con: The relatively surprising noms for the film's script and actress may be all the Academy wants to give this small film.
Happy-Go-Lucky by Mike Leigh
Pro: Leigh is an experienced and beloved writer whom the Academy might be in the mood to reward. His script is smooth throughout, creating a few great characters along the way.
Con: Clearly the Academy doesn't love this film enough to give its Globe-winning actress a nom and really, the buzz on this script has been rather absent.
Milk by Dustin Lance Black
Pro: The driving creative force behind the 8-nom Oscar darling and Best Picture candidate. The script of a heavyweight.
Con: The film has a good deal of documentary footage and there has been a select group of detractors, sighting the script as Milk's major flaw. Scripts with even a few detractors usually don't win.
In Bruges by Martin McDonaugh
Pro: A (mostly) crowd-pleasing, filthy-mouthed affair. The script is the star of what has been a film that is slowly gaining quite a bit of buzz.
Con: Could be a little too cool for the Academy and it's a film that just now has gotten a buzz push. The Academy may think the nomination may be enough of a reward?
Wall-E by Andrew Stanton
Pro: The most accessible "big" award the Academy can give to an animated feature. And this is the most critically acclaimed animated feature ever.
Con: Long stretches of no dialogue could scare some Academy voters (since we all know dialogue is the whole part of a screenplay...) Plus, one word: animation.
Winner: Stanton for WALL-E
Best Adapted Screenplay
The Curious Case of Benjamin Button by Eric Roth
Pro: It's an epic, thick screenplay (never-ending, in fact) that also weaves a story into a historical subtext. The Academy loves Eric Roth. The film is a very, very poor man's Forrest Gump which may trigger fond memories for the Academy.
Con: There are many glaring flaws in this screenplay, one being that you feel nothing from the characters. Also, it's a strong field.
Doubt by John Patrick Shanley
Pro: The screenplay has a big connection with acting and the Academy loves Doubt's acting. Also, its a complex and well-known story from the stage (or is that a bad thing?)
Con: Not much has been made of Doubt's screenplay. It tends to get lost behind the great ensemble of the film. May slip under the noses of the Academy.
Frost/Nixon by Peter Morgan
Pro: It's the underlying factor of why everyone "really thinks Frost/Nixon is a very good movie" and why the play is such a phenomenon and is really the only factor of Forst/Nixon that actually could win, instead of being in by default.
Con: Nobody really cares about Frost/Nixon. It's just there.
The Reader by Peter Hare
Pro: Again, another screenwriting heavyweight that the Academy loves in this category. The script is considered pretty good, just like the film. Pretty good, so it leap-frogs an iconic soon-to-be classic that defined the landscape of cinema in 2009. (You knew I'd bring it up.)
Con: The Reader's script rode the coattails of its bizarre-o Best Picture nom. Just like the film in the Best Picture lineup, Hare's script has no shot in this category that has a clear favorite, being...
Slumdog Millionaire by Simon Beaufoy
Pro: It's an element of the soon-to-be Best Picture winner that everyone likes. The script is clever in its style while giving us great characters in an interesting premise.
Con: Really, none, in my opinion. The Slumdog train is moving too damn fast, at this point.
Winner: Beaufoy for Slumdog Millionaire
A fairly wide-open field with no huge favorite, but a pretty quick process of elimination can widdle this baby down.
Frozen River by Courtney Hunt
Pro: One of the most acclaimed indies of the year and it's very, very indie. And sometimes the Academy likes to believe that the indie-r the film, the better the script.
Con: The relatively surprising noms for the film's script and actress may be all the Academy wants to give this small film.
Happy-Go-Lucky by Mike Leigh
Pro: Leigh is an experienced and beloved writer whom the Academy might be in the mood to reward. His script is smooth throughout, creating a few great characters along the way.
Con: Clearly the Academy doesn't love this film enough to give its Globe-winning actress a nom and really, the buzz on this script has been rather absent.
Milk by Dustin Lance Black
Pro: The driving creative force behind the 8-nom Oscar darling and Best Picture candidate. The script of a heavyweight.
Con: The film has a good deal of documentary footage and there has been a select group of detractors, sighting the script as Milk's major flaw. Scripts with even a few detractors usually don't win.
In Bruges by Martin McDonaugh
Pro: A (mostly) crowd-pleasing, filthy-mouthed affair. The script is the star of what has been a film that is slowly gaining quite a bit of buzz.
Con: Could be a little too cool for the Academy and it's a film that just now has gotten a buzz push. The Academy may think the nomination may be enough of a reward?
Wall-E by Andrew Stanton
Pro: The most accessible "big" award the Academy can give to an animated feature. And this is the most critically acclaimed animated feature ever.
Con: Long stretches of no dialogue could scare some Academy voters (since we all know dialogue is the whole part of a screenplay...) Plus, one word: animation.
Winner: Stanton for WALL-E
Best Adapted Screenplay
The Curious Case of Benjamin Button by Eric Roth
Pro: It's an epic, thick screenplay (never-ending, in fact) that also weaves a story into a historical subtext. The Academy loves Eric Roth. The film is a very, very poor man's Forrest Gump which may trigger fond memories for the Academy.
Con: There are many glaring flaws in this screenplay, one being that you feel nothing from the characters. Also, it's a strong field.
Doubt by John Patrick Shanley
Pro: The screenplay has a big connection with acting and the Academy loves Doubt's acting. Also, its a complex and well-known story from the stage (or is that a bad thing?)
Con: Not much has been made of Doubt's screenplay. It tends to get lost behind the great ensemble of the film. May slip under the noses of the Academy.
Frost/Nixon by Peter Morgan
Pro: It's the underlying factor of why everyone "really thinks Frost/Nixon is a very good movie" and why the play is such a phenomenon and is really the only factor of Forst/Nixon that actually could win, instead of being in by default.
Con: Nobody really cares about Frost/Nixon. It's just there.
The Reader by Peter Hare
Pro: Again, another screenwriting heavyweight that the Academy loves in this category. The script is considered pretty good, just like the film. Pretty good, so it leap-frogs an iconic soon-to-be classic that defined the landscape of cinema in 2009. (You knew I'd bring it up.)
Con: The Reader's script rode the coattails of its bizarre-o Best Picture nom. Just like the film in the Best Picture lineup, Hare's script has no shot in this category that has a clear favorite, being...
Slumdog Millionaire by Simon Beaufoy
Pro: It's an element of the soon-to-be Best Picture winner that everyone likes. The script is clever in its style while giving us great characters in an interesting premise.
Con: Really, none, in my opinion. The Slumdog train is moving too damn fast, at this point.
Winner: Beaufoy for Slumdog Millionaire
Tuesday, February 3
What (the hell) are Bill Condon and Laurence Mark Up To?
“Your categories are being presented in a completely different way. Heads up...Cinematographers, editors, composers. All of you guys. You’re in for a big surprise.”
- AMPAS President, Sid Ganis
Big surprises in store? Ever since the news broke that 'Dreamgirls' director Bill Condon and producer Laurence Mark were helming this year's Oscars, rampant speculation has pointed to the fact that Mark and Condon want to give the Oscar telecast a makeover. And with it, I am both scared and excited. But mainly scared.
Categories being presented in a whole new way? Uh, how exactly? You can't expand too much on Tom Cruise or some other celeb getting up to stage, and dramatically unveiling the nominees and winner. A little clip to accompany it, as well. What are they going to do now? Have the nominees come to stage and stand up there, American Idol style? "David Fincher, step forward. Ron Howard step forward. Those of you a step forward, I'm sorry to tell you, but your road to Best Director, has ended tonight." Cue the montage.
Also, I've heard that Mark and Condon want to give the show a more nightclub-ish feel, which I'm all for, I guess. Make it a little more fun for the celebrities, thus making it more fun for the viewers. Open up the bar, maybe, and how about not have the celebs be chained into their seats. A few little adjustments could be made, and the atmosphere of the show could go way up.
I wonder if they'll get rid of the Best Original Song live performances (see: Happy Working Song, Adams *shudder*). But, to be honest, I'm among the few who actually enjoy those performances. Especially this year with M.I.A. Maybe they can breathe some life into the ceremony. Note to producers: Capitalize on that performance.
Now, I hope these newfangled producers are really thinking their ideas out. Advice to them: Don't alter shit just to alter shit. Think, 'Will the viewers be comfortable and entertained by these reforms?' That's all it boils don't to. Good luck, Bill and Larry...
On Shuffle: A Look into My iPod (Part 1)
Really, the best way to see one's taste in music is to take a gander at their iPod via Shuffle. Of the 3000 songs and growing, if I shuffle it up ten times, something good must come up, right?
1. My Favourite Book by Stars
A vastly underrated band, and this song is a really good pop track. Not my favorite, but it's considered one of Stars' most popular.
Rating: 4 (out of five)
2. The Rock by The Who
I'm just not a fan of The Who. Maybe I haven't given them enough of a chance, but, just, no. Great guitar in this one, though.
Rating: 3
3. Tumbling Dice by The Rolling Stones
Lots of classic rock, eh? A very good song, but not something I'd listen to, too much.
Rating: 4
4. 7 Stars by The Apples In Stereo
This song is okay, but did you see that Pepsi Max commercial with 'Energy' in it? I swear, a few months I said that song would be perfect for a caffeine drink commercial. They heard my thoughts!
Rating: 3
5. Is This Love? by Clap Your Hands Say Yeah
Possibly my favorite CYHSY song. Beautiful, yes, beautiful...melody? Is that what you call it?
Rating: 5
6. Rocky Racoon by The Beatles
A good Beatles song, and nothing more than that. I like how the vocals sound a little staticky.
Rating: 4
7. Computer Rock by Beck
Okay, this isn't really a song. Forty-two seconds of one repetitive techno beat? Yeah, um...
Rating: 3i5uyv284yvih
8. Faithfully by Journey
Open Arms is really Journey's only good song (in my eyes). Yet, for some reason I was inclined to buy their whole greatest hits so I got all this crap.
Rating: 2
9. Seen How Things Are by Elliot Smith
Never heard this one before. Smith has such an amazing, gentle voice. This is pretty by-the-numbers Elliot Smith. Which, of course, is awesome.
Rating: 4
10. Daria by Cake
(Off of Cake's mediocre 'Fashion Nugget') This one is full of excessive rhyming, semi-monotone vocals and a variety of instruments. And thats why I love Cake, so, yeah, it's pretty great.
Rating: 5
Average: 3.5
Well, that was fun. Same place, next week?
1. My Favourite Book by Stars
A vastly underrated band, and this song is a really good pop track. Not my favorite, but it's considered one of Stars' most popular.
Rating: 4 (out of five)
2. The Rock by The Who
I'm just not a fan of The Who. Maybe I haven't given them enough of a chance, but, just, no. Great guitar in this one, though.
Rating: 3
3. Tumbling Dice by The Rolling Stones
Lots of classic rock, eh? A very good song, but not something I'd listen to, too much.
Rating: 4
4. 7 Stars by The Apples In Stereo
This song is okay, but did you see that Pepsi Max commercial with 'Energy' in it? I swear, a few months I said that song would be perfect for a caffeine drink commercial. They heard my thoughts!
Rating: 3
5. Is This Love? by Clap Your Hands Say Yeah
Possibly my favorite CYHSY song. Beautiful, yes, beautiful...melody? Is that what you call it?
Rating: 5
6. Rocky Racoon by The Beatles
A good Beatles song, and nothing more than that. I like how the vocals sound a little staticky.
Rating: 4
7. Computer Rock by Beck
Okay, this isn't really a song. Forty-two seconds of one repetitive techno beat? Yeah, um...
Rating: 3i5uyv284yvih
8. Faithfully by Journey
Open Arms is really Journey's only good song (in my eyes). Yet, for some reason I was inclined to buy their whole greatest hits so I got all this crap.
Rating: 2
9. Seen How Things Are by Elliot Smith
Never heard this one before. Smith has such an amazing, gentle voice. This is pretty by-the-numbers Elliot Smith. Which, of course, is awesome.
Rating: 4
10. Daria by Cake
(Off of Cake's mediocre 'Fashion Nugget') This one is full of excessive rhyming, semi-monotone vocals and a variety of instruments. And thats why I love Cake, so, yeah, it's pretty great.
Rating: 5
Average: 3.5
Well, that was fun. Same place, next week?
Monday, February 2
Big Game Reaction
Since I've been a pretty lazy son of a bitch the past few days, I decided that I wouldn't do a pre-Super Bowl analysis, 'cause hell, that would be way to much work! And, yeah, I had a post saved that would have done the trick, yet going into Saved Drafts and simply hitting 'Post' would have been far too arduous. Damn. I guess I was in the Super Bowl spirit: the spirit of sitting on your ass all day watching a game while eating chips and other artery-clogging goodies.
So prior to the game, I picked the Steelers to win 27-20. And, yeah, they won 27-23. I should get some sort of prize, shouldn't I? Anyway, I thought people were getting too excited by the Cinderella Cardinals in the Super Bowl. Yes, the Cardinals have an explosive offense, but the Steelers have a legendary (yes, legendary) defense this year. Everyone was forgetting that defense.
I contemplated making the score more one-sided, yet I thought about Kurt Warner and Larry Fitz and I felt the Cards deserved a shot in hell. When the Steelers got up 10-0, early, I had twinge of satisfaction. Yet, I was absolutely shocked at the grit and determination Arizona soon displayed in the fourth quarter. The team does have something. Really well-coached and talented, and just needed to get the jitters out for a little bit (though it took three quarters).
From this revelation of seeing the grit the Cardinals, such a futile franchise, showed America, I found myself rooting for them in that intense fourth quarter. Yes, I was risking being wrong (I hate being wrong.), losing my streak in Streak for the Cash and also going against a prediction I uttered months and months ago ("The Steelers are gonna win it all"). I really wanted the Cardinals to win this one.
My heart was beating and I had a bit of sweat over my brow. I leaned forward in my chair. I am pathetic, aren't I? And when Fitzgerald scored that beautiful go-ahead touchdown, I think everyone got a tad worried, as plenty of time remained on the clock. The Steelers had time to score.
And they did. It was in the cards (no pun intended) for them, I supposed. They were the better team and the better team won. And, you know, it was bittersweet for me. You see, I have this tendency to pick against the team I want to win, so that if the team I want to win loses, I can still have the satisfaction fo getting to boast my correct estimation. It's great, yet bittersweet.
The season's over. I guess I'm ready. Ready to let go. Time to turn my full attention to basketball, be it NBA or NCAA. It was a hell of a Super Bowl with an incredible finish. The Steelers cemented themselves on the Mount Rushmore of great sports franchises (with the Celtics, Yankees and Canadiens, right?) while the Cardinals had, easily, their best season in Arizona. A landmark year for them.
At least Omar Epps is happy about it. And, God, he's wearing all Steelers colors? Good for him.
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