In an age where films like WITLESS PROTECTION even exist, we could use a reminder of why the cinema has become such an important facet of our culture. Leave it to Michel Gondry to show just how affecting the transformative magic of movies can be. BE KIND REWIND is a hilarious and surprisingly touching gift to movie fanatics everywhere. Extending beyond its gimmicky premise, Gondry gets spirited performances from all involved and crafts perhaps the sweetest and most heartfelt film-related finale since CINEMA PARADISO.
Be Kind Rewind is a old-fashioned VHS video store and pawn shop in Passaic, New Jersey, and the birthplace of legendary jazz musician Fats Waller. But the store has fallen on hard times, and owner Mr. Fletcher (Danny Glover) faces pressure from chain DVD rental stores and city zoning commissions to close the place down. He goes away for a weekend, placing the only other employee, adopted son Mike (Mos Def) in charge of the store with one strict rule: he must not let his unhinged, paranoid friend Jerry (Jack Black) in the store. Unfortunately, after being magnetized in a freak accident, Jerry does make his way into the store and, in the process, erases all the video tapes. In order to appease the store’s most frequent customer (Mia Farrow), the two quickly tape themselves acting out the movie GHOSTBUSTERS. Soon the tactic catches on, and the store is more crowded than ever, bursting at the walls with customers demanding to see more cheaply remade films starring the two.
The film is Gondry’s most mainstream production by far. The visual styling that made his previous films, particularly ETERNAL SUNSHINE OF THE SPOTLESS MIND and THE SCIENCE OF SLEEP, so distinctive is relegated to a few brief sections in the middle of the film and the end. But where there is less visual experimentation, there is a greater emphasis on storytelling. The film’s plot, especially in its second half, flirts with clichés but sidesteps them with its honesty and unabashed sentimentalism. It wisely goes beyond the mere premise of two guys remaking famous films, though the recreations are extremely funny. Black and Def’s version of GHOSTBUSTERS and DRIVING MISS DAISY in particular are pitch-perfect homages to everyone who reenacted their favorite films in their basements. But Gondry is smart enough to realize that to really make the film a memorable experience, more is needed. As the film rides into its second half, the laughs are set aside and the core of the film is really examined.
The film is performed with vigor by its cast. Black once again takes on a not-so-expected role in a not-so-expected film. After KING KONG, MARGOT AT THE WEDDING and now BE KIND REWIND, he is establishing himself as one of the riskier comedic actors out there today. He still brings his trademark sense of humor to his role, but he proves to be surprisingly well-fitted for Gondry’s quirkily eccentric voice. Glover gives his most invigorated performance in years. Gone is his usual tendency to deliver lines at just above a whisper, and his aged weariness gives a great deal of heart to the film. Def is appropriately wide-eyed and hopeful, and it’s always nice to see Mia Farrow in a new film.
BE KIND REWIND is made for people who believe in the power movies can hold over a culture. Midway through the film, a discussion between three main characters about THE LION KING soon includes everyone that surrounds them; for a few brief moments, people of all walks of life are united. And as the finale shows, when enough heart is poured into a film, its reach can be endless. BE KIND REWIND has that heart and isn’t afraid to show it.
****/****
Monday, February 25, 2008
Saturday, February 16, 2008
The Spiderwick Chronicles
The family-friendly literature-based fantasy film trend continues this weekend with THE SPIDERWICK CHRONICLES, a Nickelodeon-produced adventure based on the bestselling children’s book series. But where most recent films have been underdeveloped and overproduced, director Mark Waters (of MEAN GIRLS) strikes a nice balance between the two. Introducing audiences to a new world without skimping over details or getting too bogged down in plot, the film is an often thrilling and always entertaining diversion for children and audiences alike.
The Grace family has just moved into an old deserted family house in the middle of nowhere. While mother Helen (Mary-Louise Parker) and children Simon (Freddie Highmore) and Mallory (Emma Bolger) remain optimistic, moody and violent Jared (Highmore again) sees the place as a dead-end. That is, until he discovers a dumbwaiter leading into the house’s dusty attic, where he uncovers a major secret; a bound leather book with a warning telling any prospective readers to turn away. Jared, being a typical film hero, naturally breaks the seal and reads the book; Arthur Spiderwick’s guide to every magical creature on Earth. Soon enough, Jared learns that every word Spiderwick wrote was true. When an evil ogre sets his sights on the book, he enlists his siblings to help defeat the monster and save the other creatures that surround them.
The plot is that of your typical children’s fantasy, but it keeps things brisk and doesn’t let its familiarity become a crutch. A lot of explanation is required to explain the various creatures and what they do, but it avoids the faults of other recent fantasy pics by not dropping their name once and then assuming viewers will catch up. The real world is melded with the fantastical elements quite well; the reasoning behind the creatures’ existence and why most people cannot see them is convincingly illustrated, and does lead to some shocking moments late in the film. Waters keeps the film constantly moving; once the action starts, it never really stops. Even the requisite pause for dramatic development just before the finale isn’t as momentum-killing as it could have been.
It is successful, in no small part, to the charisma and likeability of Bolger and Highmore. Highmore in particular continues his streak of being the most sympathetic and emotive of the wide-eyed child actors out there today and injects several noteworthy traits to differentiate his two characters. Truth be told, Simon and Jared are like night and day, but the differences in Highmore’s speech patterns and vocal inflections are something to be admired. Throw in some entertainingly spirited vocal performances from Martin Short and Seth Rogen as two magical allies, and you’ve got a film where the actors are having as much fun as the audience. Some younger viewers may find the tenser moments of the film too scary, but it’s all worth it in the end.
THE SPIDERWICK CHRONICLES is a light, fun introduction to a world not too different from our own. Making sure to develop all possibilities in story, rather than finding the quickest way to the action and throwing caution to the world, it is a genuinely well-plotted and well-made film. With likeable performances and action audiences of all ages can enjoy, the film is a perfect retreat for families; something that will keep kids entertained will keeping adults from rolling their eyes in boredom.
***/****
The Grace family has just moved into an old deserted family house in the middle of nowhere. While mother Helen (Mary-Louise Parker) and children Simon (Freddie Highmore) and Mallory (Emma Bolger) remain optimistic, moody and violent Jared (Highmore again) sees the place as a dead-end. That is, until he discovers a dumbwaiter leading into the house’s dusty attic, where he uncovers a major secret; a bound leather book with a warning telling any prospective readers to turn away. Jared, being a typical film hero, naturally breaks the seal and reads the book; Arthur Spiderwick’s guide to every magical creature on Earth. Soon enough, Jared learns that every word Spiderwick wrote was true. When an evil ogre sets his sights on the book, he enlists his siblings to help defeat the monster and save the other creatures that surround them.
The plot is that of your typical children’s fantasy, but it keeps things brisk and doesn’t let its familiarity become a crutch. A lot of explanation is required to explain the various creatures and what they do, but it avoids the faults of other recent fantasy pics by not dropping their name once and then assuming viewers will catch up. The real world is melded with the fantastical elements quite well; the reasoning behind the creatures’ existence and why most people cannot see them is convincingly illustrated, and does lead to some shocking moments late in the film. Waters keeps the film constantly moving; once the action starts, it never really stops. Even the requisite pause for dramatic development just before the finale isn’t as momentum-killing as it could have been.
It is successful, in no small part, to the charisma and likeability of Bolger and Highmore. Highmore in particular continues his streak of being the most sympathetic and emotive of the wide-eyed child actors out there today and injects several noteworthy traits to differentiate his two characters. Truth be told, Simon and Jared are like night and day, but the differences in Highmore’s speech patterns and vocal inflections are something to be admired. Throw in some entertainingly spirited vocal performances from Martin Short and Seth Rogen as two magical allies, and you’ve got a film where the actors are having as much fun as the audience. Some younger viewers may find the tenser moments of the film too scary, but it’s all worth it in the end.
THE SPIDERWICK CHRONICLES is a light, fun introduction to a world not too different from our own. Making sure to develop all possibilities in story, rather than finding the quickest way to the action and throwing caution to the world, it is a genuinely well-plotted and well-made film. With likeable performances and action audiences of all ages can enjoy, the film is a perfect retreat for families; something that will keep kids entertained will keeping adults from rolling their eyes in boredom.
***/****
Friday, February 15, 2008
Jumper
Anywhere is possible in JUMPER, but most people who see the film will wish they were somewhere else. A dismal and disappointing distraction from director Doug Liman, who has taken a step back from his previous action successes (THE BOURNE IDENTITY and MR. AND MRS. SMITH) thanks to a shoddy script, muddled performances and a too-frenetic editing job.
David Rice (Max Thieriot) is the typical picked-on kid in high school. Broken family, poor social skills, and a crush on the most intriguing girl in school. When a potentially sweet moment becomes a life-threatening trip into an icy lake, David suddenly finds himself transported to the local library. With the revelatory line, “Did I just teleport?” (Which is what I say whenever I can’t remember how I got somewhere), David realizes he has a gift; he is a Jumper. He grows into a wealthy young man (now played by Hayden Christensen), thanks to his ability to jump into banks undetected. But soon he finds a league of deadly stalkers (led by a white-haired Samuel L. Jackson) on his tail, and he must fight to save himself and the one girl for him (Rachel Bilson).
David becomes superhero-like with his ability to instantly appear anywhere, and often makes reference to it (this comes as little surprise, since the film was co-written by one of Hollywood’s resident comic geeks, David S. Goyer). But as the plot develops, viewers are left with a, “yes, and…?” feeling. David’s only real ability is to teleport. Nothing else about him is remarkable; in most cases, he is even unable to make competent decisions. This likely explains the rushed nature of the film; at only 88 minutes, it only barely scratches the surface of its possibilities. The film’s blink-and-miss-it climax is the most criminal act. The final showdown doesn’t last much longer than two minutes. What we see is probably all the filmmakers could think of, and it certainly is disappointing, since David is adamant about not resorting to violence to save himself. One wonders whether he does this out of the goodness of his heart, or if it is completely unbelievable than Christensen could actually defeat Samuel L. Jackson in a fight.
Which brings us to the cast. While the parts aren’t challenging in the least, with every character filling one of the action film archetypes, the performers don’t do any favors. Christensen has improved since his Star Wars days, but he still hasn’t proven himself dynamic enough to secure his spot in stardom. Jackson and Bilson are only serviceable; the former being moderately menacing while the latter is relegated to pouting most of the time. The only bright spot in the cast is Jamie Bell, playing a squirrelly fellow Jumper. Bell, who manages to actually get laughs out of his lines, rises above the material with ease, committing himself to having fun rather than being serious. He has long been touted as one of the next big things, and his performance here is only more evidence for the case.
Liman’s action sequences, which were smooth and thrilling in films past, are jumbled and confusing here. The jumping effects, often occurring several times in a shot, are impressive, but when the editing becomes too frenetic and the camera becomes too shaky to make sense of much, we are left to wait distantly to see how things turn out. The rather short length of these sequences worsens the situation; more often than not, the action is over before the audience is really given a chance to get into it. Though when a person can just teleport away from his attackers instead of risking harm, I suppose it’s justified. But who wants to see a movie about that?
*1/2/****
David Rice (Max Thieriot) is the typical picked-on kid in high school. Broken family, poor social skills, and a crush on the most intriguing girl in school. When a potentially sweet moment becomes a life-threatening trip into an icy lake, David suddenly finds himself transported to the local library. With the revelatory line, “Did I just teleport?” (Which is what I say whenever I can’t remember how I got somewhere), David realizes he has a gift; he is a Jumper. He grows into a wealthy young man (now played by Hayden Christensen), thanks to his ability to jump into banks undetected. But soon he finds a league of deadly stalkers (led by a white-haired Samuel L. Jackson) on his tail, and he must fight to save himself and the one girl for him (Rachel Bilson).
David becomes superhero-like with his ability to instantly appear anywhere, and often makes reference to it (this comes as little surprise, since the film was co-written by one of Hollywood’s resident comic geeks, David S. Goyer). But as the plot develops, viewers are left with a, “yes, and…?” feeling. David’s only real ability is to teleport. Nothing else about him is remarkable; in most cases, he is even unable to make competent decisions. This likely explains the rushed nature of the film; at only 88 minutes, it only barely scratches the surface of its possibilities. The film’s blink-and-miss-it climax is the most criminal act. The final showdown doesn’t last much longer than two minutes. What we see is probably all the filmmakers could think of, and it certainly is disappointing, since David is adamant about not resorting to violence to save himself. One wonders whether he does this out of the goodness of his heart, or if it is completely unbelievable than Christensen could actually defeat Samuel L. Jackson in a fight.
Which brings us to the cast. While the parts aren’t challenging in the least, with every character filling one of the action film archetypes, the performers don’t do any favors. Christensen has improved since his Star Wars days, but he still hasn’t proven himself dynamic enough to secure his spot in stardom. Jackson and Bilson are only serviceable; the former being moderately menacing while the latter is relegated to pouting most of the time. The only bright spot in the cast is Jamie Bell, playing a squirrelly fellow Jumper. Bell, who manages to actually get laughs out of his lines, rises above the material with ease, committing himself to having fun rather than being serious. He has long been touted as one of the next big things, and his performance here is only more evidence for the case.
Liman’s action sequences, which were smooth and thrilling in films past, are jumbled and confusing here. The jumping effects, often occurring several times in a shot, are impressive, but when the editing becomes too frenetic and the camera becomes too shaky to make sense of much, we are left to wait distantly to see how things turn out. The rather short length of these sequences worsens the situation; more often than not, the action is over before the audience is really given a chance to get into it. Though when a person can just teleport away from his attackers instead of risking harm, I suppose it’s justified. But who wants to see a movie about that?
*1/2/****
Friday, February 8, 2008
In Bruges
Renowned playwright and Academy Award-winning filmmaker Martin McDonagh makes his feature film debut with IN BRUGES, a smart and tight thriller that will astound some while irk others. McDonagh’s signature violence and dialogue successfully makes the transition from stage to screen, though those who do not understand his motivations will be left wondering what the big deal is.
After a bungled job in London, Irish hit men Ray (Colin Farrell) and Ken (Brendan Gleeson) are told by their employer (Ralph Fiennes) to wait for further instructions in scenic Bruges. (It’s in Belguim.) While the seasoned veteran Ken distracts himself with sightseeing, Ray begins to realize the extent of his actions. The two connect and share their views about life and the world around them. All the while, they become introduced to the more eclectic side of life in Bruges, including a beautiful Belgian dealer (Clemence Poesy) and a forward American dwarf.
McDonagh is a very self conscious writer and director and immediately adapts to the realm of feature length film, introducing himself with a brash, take-it-or-leave-it style. In one scene, the famous one-shot opening sequence of “Touch of Evil” plays in the background. It is no small coincidence that the scene surrounding it is one extended shot as well. He proves himself more than a capable director; most of the film is dialogue-based, but the action packed finale will have viewers on the edge of their seats. The final sequences themselves are rather simple, yet extremely effectively filmed and edited. The film’s violence is very high, yet McDonagh has a visual mastery for the grotesque, finding a sense of darkly comic beauty in the carnage.
But the film’s main strength, and the thing that will have people talking, is its dialogue. Showing absolutely no restraint, the words the characters say are deliberately designed to shock and certain to offend many groups of people. Yet none of it is meant seriously, and all of it adds expertly to the film’s dark and edgy humor. Obesity, retardation, dwarfism, race and ethnicity are all ruthlessly dragged through the mud. Expletives abound and derogatory terms muttered every minute, yet the film grows funnier every time a new line comes around that tops the others in its lewdness and sheer audacity.
The cast takes what they are given and have a ball, each member of the ensemble relishing in their roles. Of particular note is Farrell, who offers surprising heart and genuine emotion that keeps the film from being completely cynical. Gleeson’s world-weary Ken seems strictly supporting at first but grows into compelling reality as he takes matters into his own hands. Fiennes has the most fun role and knows it; he relishes in each sharp-tongued line he is given, creating a villain that is at once menacing and hilarious. The film’s only major fault is its missed opportunity to develop Poesy’s beauty and charm into a truly substantial character. While she has a few intriguing quirks, she serves the purpose of being supporting love interest and nothing more.
IN BRUGES will introduce the world to McDonagh’s distinctive voice and style. If this film is any indication, he could easily become the next big voice in cinema. The film is brash and forward in a way most filmmakers would be too afraid to even dream of. McDonagh goes the extra mile to say things others refuse to say, but instead of taking himself seriously, he finds a way to laugh about it. The film’s shocking violence and surprising humor make it a must-see, certainly for anyone who want to catch the beginning of a major talent coming into his own.
***1/2/****
After a bungled job in London, Irish hit men Ray (Colin Farrell) and Ken (Brendan Gleeson) are told by their employer (Ralph Fiennes) to wait for further instructions in scenic Bruges. (It’s in Belguim.) While the seasoned veteran Ken distracts himself with sightseeing, Ray begins to realize the extent of his actions. The two connect and share their views about life and the world around them. All the while, they become introduced to the more eclectic side of life in Bruges, including a beautiful Belgian dealer (Clemence Poesy) and a forward American dwarf.
McDonagh is a very self conscious writer and director and immediately adapts to the realm of feature length film, introducing himself with a brash, take-it-or-leave-it style. In one scene, the famous one-shot opening sequence of “Touch of Evil” plays in the background. It is no small coincidence that the scene surrounding it is one extended shot as well. He proves himself more than a capable director; most of the film is dialogue-based, but the action packed finale will have viewers on the edge of their seats. The final sequences themselves are rather simple, yet extremely effectively filmed and edited. The film’s violence is very high, yet McDonagh has a visual mastery for the grotesque, finding a sense of darkly comic beauty in the carnage.
But the film’s main strength, and the thing that will have people talking, is its dialogue. Showing absolutely no restraint, the words the characters say are deliberately designed to shock and certain to offend many groups of people. Yet none of it is meant seriously, and all of it adds expertly to the film’s dark and edgy humor. Obesity, retardation, dwarfism, race and ethnicity are all ruthlessly dragged through the mud. Expletives abound and derogatory terms muttered every minute, yet the film grows funnier every time a new line comes around that tops the others in its lewdness and sheer audacity.
The cast takes what they are given and have a ball, each member of the ensemble relishing in their roles. Of particular note is Farrell, who offers surprising heart and genuine emotion that keeps the film from being completely cynical. Gleeson’s world-weary Ken seems strictly supporting at first but grows into compelling reality as he takes matters into his own hands. Fiennes has the most fun role and knows it; he relishes in each sharp-tongued line he is given, creating a villain that is at once menacing and hilarious. The film’s only major fault is its missed opportunity to develop Poesy’s beauty and charm into a truly substantial character. While she has a few intriguing quirks, she serves the purpose of being supporting love interest and nothing more.
IN BRUGES will introduce the world to McDonagh’s distinctive voice and style. If this film is any indication, he could easily become the next big voice in cinema. The film is brash and forward in a way most filmmakers would be too afraid to even dream of. McDonagh goes the extra mile to say things others refuse to say, but instead of taking himself seriously, he finds a way to laugh about it. The film’s shocking violence and surprising humor make it a must-see, certainly for anyone who want to catch the beginning of a major talent coming into his own.
***1/2/****
Wednesday, February 6, 2008
The 2007 Newmie Nominations
Well, this year was a great year for films. Actually... it was more like a pretty good 9 months and an astounding final 3 months. So, since I was fortunate enough to see many films (and even more fortunate to see them for free more often than not), I have compiled the nominations for the 2007 NEWMIE AWARDS. It was a very difficult list to create, and I'm still frustrated that I could only use 5 slots in the categories. I still am lost when it comes to deciding the winners as well, so don't expect them any time soon. Well... without further ado...
BEST PICTURE
Atonement
Juno
No Country for Old Men
Sweeney Todd: The Demon Barber of Fleet Street
There Will Be Blood
BEST DIRECTOR
Paul Thomas Anderson, "There Will Be Blood"
Tim Burton, "Sweeney Todd: The Demon Barber of Fleet Street"
Joel Coen & Ethan Coen, "No Country for Old Men"
Sidney Lumet, "Before the Devil Knows You're Dead"
Joe Wright, "Atonement"
BEST ACTOR
Christian Bale, "Rescue Dawn"
Steve Carrell, "Dan in Real Life"
Daniel Day-Lewis, "There Will Be Blood"
Johnny Depp, "Sweeney Todd: The Demon Barber of Fleet Street"
Emile Hirsch, "Into the Wild"
BEST ACTRESS
Helena Bonham Carter, "Sweeney Todd"
Julie Christie, "Away from Her"
Marion Cotillard, "La vie en rose"
Nicole Kidman, "Margot at the Wedding"
Ellen Page, "Juno"
BEST SUPPORTING ACTOR
Casey Affleck, "The Assassination of Jesse James by the Coward Robert Ford"
Javier Bardem, "No Country for Old Men"
Marcus Carl Franklin, "I'm Not There"
Hal Holbrook, "Into the Wild"
Tommy Lee Jones, "No Country for Old Men"
BEST SUPPORTING ACTRESS
Cate Blanchett, "I'm Not There"
Romola Garai, "Atonement"
Jennifer Jason Leigh, "Margot at the Wedding"
Kelly MacDonald, "No Country for Old Men"
Imelda Staunton, "Harry Potter and the Order of the Phoenix"
BEST ORIGINAL SCREENPLAY
Diablo Cody, "Juno"
Tony Gilroy, "Michael Clayton"
Todd Haynes, Oren Moverman, "I'm Not There"
Kelly Masterson, "Before the Devil Knows You're Dead"
Adrienne Shelly, "Waitress"
BEST ADAPTED SCREENPLAY
Paul Thomas Anderson, "There Will Be Blood"
Joel Coen & Ethan Coen, "No Country for Old Men"
Christopher Hampton, "Atonement"
John Logan, "Sweeney Todd: The Demon Barber of Fleet Street"
James Vanderbilt, "Zodiac"
BEST PRODUCTION DESIGN
Atonement
The Golden Compass
Harry Potter and the Order of the Phoenix
Sweeney Todd: The Demon Barber of Fleet Street
There Will Be Blood
BEST COSTUME DESIGN
Atonement
La vie en rose
Lust, Caution
Sweeney Todd: The Demon Barber of Fleet Street
There Will Be Blood
BEST SOUND DESIGN
Atonement
The Diving Bell and the Butterfly
No Country for Old Men
Sweeney Todd: The Demon Barber of Fleet Street
There Will Be Blood
BEST EDITING
Atonement
The Diving Bell and the Butterfly
No Country for Old Men
Sweeney Todd: The Demon Barber of Fleet Street
There Will Be Blood
BEST VISUAL EFFECTS
The Golden Compass
Harry Potter and the Order of the Phoenix
Pirates of the Caribbean: At World's End
BEST MAKE-UP DESIGN
Atonement
La vie en rose
Sweeney Todd: The Demon Barber of Fleet Street
BEST CINEMATOGRAPHY
The Assassination of Jesse James by the Coward Robert Ford
Atonement
The Diving Bell and the Butterfly
Sweeney Todd: The Demon Barber of Fleet Street
There Will Be Blood
BEST ORIGINAL SCORE
The Assassination of Jesse James by the Coward Robert Ford
Atonement
Lust, Caution
Ratatouille
There Will Be Blood
BEST ORIGINAL SONG
Come So Far, "Hairspray"
Falling Slowly, "Once"
Rise, "Into the Wild"
That's How You Know, "Enchanted"
To Be Surprised, "Dan in Real Life"
BEST FOREIGN LANGUAGE FILM
The Diving Bell and the Butterfly
The Lives of Others
Lust, Caution
The Orphanage
Persepolis
BEST ANIMATED FEATURE
Persepolis
Ratatouille
The Simpsons Movie
So there you have it! Sweeney Todd and Atonement lead the pack with 11 nominations, followed by There Will Be Blood with 10 and No Country for Old Men with 8. I still haven't decided the winners, but expect them before the Oscars... just so I can say I picked 'em first.
BEST PICTURE
Atonement
Juno
No Country for Old Men
Sweeney Todd: The Demon Barber of Fleet Street
There Will Be Blood
BEST DIRECTOR
Paul Thomas Anderson, "There Will Be Blood"
Tim Burton, "Sweeney Todd: The Demon Barber of Fleet Street"
Joel Coen & Ethan Coen, "No Country for Old Men"
Sidney Lumet, "Before the Devil Knows You're Dead"
Joe Wright, "Atonement"
BEST ACTOR
Christian Bale, "Rescue Dawn"
Steve Carrell, "Dan in Real Life"
Daniel Day-Lewis, "There Will Be Blood"
Johnny Depp, "Sweeney Todd: The Demon Barber of Fleet Street"
Emile Hirsch, "Into the Wild"
BEST ACTRESS
Helena Bonham Carter, "Sweeney Todd"
Julie Christie, "Away from Her"
Marion Cotillard, "La vie en rose"
Nicole Kidman, "Margot at the Wedding"
Ellen Page, "Juno"
BEST SUPPORTING ACTOR
Casey Affleck, "The Assassination of Jesse James by the Coward Robert Ford"
Javier Bardem, "No Country for Old Men"
Marcus Carl Franklin, "I'm Not There"
Hal Holbrook, "Into the Wild"
Tommy Lee Jones, "No Country for Old Men"
BEST SUPPORTING ACTRESS
Cate Blanchett, "I'm Not There"
Romola Garai, "Atonement"
Jennifer Jason Leigh, "Margot at the Wedding"
Kelly MacDonald, "No Country for Old Men"
Imelda Staunton, "Harry Potter and the Order of the Phoenix"
BEST ORIGINAL SCREENPLAY
Diablo Cody, "Juno"
Tony Gilroy, "Michael Clayton"
Todd Haynes, Oren Moverman, "I'm Not There"
Kelly Masterson, "Before the Devil Knows You're Dead"
Adrienne Shelly, "Waitress"
BEST ADAPTED SCREENPLAY
Paul Thomas Anderson, "There Will Be Blood"
Joel Coen & Ethan Coen, "No Country for Old Men"
Christopher Hampton, "Atonement"
John Logan, "Sweeney Todd: The Demon Barber of Fleet Street"
James Vanderbilt, "Zodiac"
BEST PRODUCTION DESIGN
Atonement
The Golden Compass
Harry Potter and the Order of the Phoenix
Sweeney Todd: The Demon Barber of Fleet Street
There Will Be Blood
BEST COSTUME DESIGN
Atonement
La vie en rose
Lust, Caution
Sweeney Todd: The Demon Barber of Fleet Street
There Will Be Blood
BEST SOUND DESIGN
Atonement
The Diving Bell and the Butterfly
No Country for Old Men
Sweeney Todd: The Demon Barber of Fleet Street
There Will Be Blood
BEST EDITING
Atonement
The Diving Bell and the Butterfly
No Country for Old Men
Sweeney Todd: The Demon Barber of Fleet Street
There Will Be Blood
BEST VISUAL EFFECTS
The Golden Compass
Harry Potter and the Order of the Phoenix
Pirates of the Caribbean: At World's End
BEST MAKE-UP DESIGN
Atonement
La vie en rose
Sweeney Todd: The Demon Barber of Fleet Street
BEST CINEMATOGRAPHY
The Assassination of Jesse James by the Coward Robert Ford
Atonement
The Diving Bell and the Butterfly
Sweeney Todd: The Demon Barber of Fleet Street
There Will Be Blood
BEST ORIGINAL SCORE
The Assassination of Jesse James by the Coward Robert Ford
Atonement
Lust, Caution
Ratatouille
There Will Be Blood
BEST ORIGINAL SONG
Come So Far, "Hairspray"
Falling Slowly, "Once"
Rise, "Into the Wild"
That's How You Know, "Enchanted"
To Be Surprised, "Dan in Real Life"
BEST FOREIGN LANGUAGE FILM
The Diving Bell and the Butterfly
The Lives of Others
Lust, Caution
The Orphanage
Persepolis
BEST ANIMATED FEATURE
Persepolis
Ratatouille
The Simpsons Movie
So there you have it! Sweeney Todd and Atonement lead the pack with 11 nominations, followed by There Will Be Blood with 10 and No Country for Old Men with 8. I still haven't decided the winners, but expect them before the Oscars... just so I can say I picked 'em first.
Friday, February 1, 2008
The Eye
The recent trend of horror movies released on Super Bowl weekend continues this year with THE EYE. No, it’s not a Sauron biopic (ba dum chik) but the American remake of the popular Japanese thriller in the vein of THE RING and THE GRUDGE. But horror would be an odd way to describe the film; there are barely any frights to speak of. Instead we are subjected to 100 minutes of Jessica Alba doing her best to act terrified and concerned.
Blind violinist Sydney Wells (Alba) whose sight is restored after a double corneal transplant, but her reconciliation with the visual world does not go as smoothly as planned. She begins seeing things she shouldn’t; people who aren’t really there, rooms shifting into others and dark, unsettling shadowy figures following people around. At first, her sister (Parker Posey) and doctor (Alessandro Nivola) attribute it to mental confusion, but Sydney is convinced there is something supernatural going on. She becomes determined to find whose eyes she has inherited, and what dark secret they possessed that has now been passed to her.
The genuine scares are few and far between. In fact, the scariest thing about THE EYE is the directors’ apparent belief that jump-scares are the only way to frighten an audience these days. Very little effort is put into creating a suspenseful mood. Instead, the film relies mostly on clichés to let an audience know what they should find frightening (people walking too slowly, children repeating lines over and over, flickering lights, etc.) Alba is just barely adequate in her role; she occasionally musters an expression that passes for terror, but she delivers most of her lines in a bright, chipper I’ll-get-through-it-somehow manner. And when she attempts pure drama with gems like, “These eyes aren’t my eyes!”, she doesn’t come off as remotely sincere. Also, I don’t know in what world Jessica Alba and Parker Posey would be sisters, but whatever.
The intriguing premise is shortchanged by its screenplay, and not just because of the golden dialogue as seen above. It seems to have been broken up into parts: set-up, the scary part, the discovery part and the big climax. The scary part isn’t really all that scary, unless you’d be scared by anyone grabbing your arm at any time and in any place. And after that, it gets even worse; it gets boring. The film completely ignores all need to be suspenseful when it begins answering questions, and the answers are far too typical and bland to sustain interest. And the film’s “big” climax may be the shortest, unexciting sequence in a horror film in years.
THE EYE is another step down in the Japanese horror remake trend. Understandably, this is a downward spiral that began when the trend did, but this film is a missed opportunity. It takes a clever premise and only half develops it, favoring instead to churn out something quick that horror junkies and teens will rush to on the first weekend. Well… at least Alba was given better contacts than she was in FANTASTIC FOUR 2. That’s about all that can be said.
*/****
Blind violinist Sydney Wells (Alba) whose sight is restored after a double corneal transplant, but her reconciliation with the visual world does not go as smoothly as planned. She begins seeing things she shouldn’t; people who aren’t really there, rooms shifting into others and dark, unsettling shadowy figures following people around. At first, her sister (Parker Posey) and doctor (Alessandro Nivola) attribute it to mental confusion, but Sydney is convinced there is something supernatural going on. She becomes determined to find whose eyes she has inherited, and what dark secret they possessed that has now been passed to her.
The genuine scares are few and far between. In fact, the scariest thing about THE EYE is the directors’ apparent belief that jump-scares are the only way to frighten an audience these days. Very little effort is put into creating a suspenseful mood. Instead, the film relies mostly on clichés to let an audience know what they should find frightening (people walking too slowly, children repeating lines over and over, flickering lights, etc.) Alba is just barely adequate in her role; she occasionally musters an expression that passes for terror, but she delivers most of her lines in a bright, chipper I’ll-get-through-it-somehow manner. And when she attempts pure drama with gems like, “These eyes aren’t my eyes!”, she doesn’t come off as remotely sincere. Also, I don’t know in what world Jessica Alba and Parker Posey would be sisters, but whatever.
The intriguing premise is shortchanged by its screenplay, and not just because of the golden dialogue as seen above. It seems to have been broken up into parts: set-up, the scary part, the discovery part and the big climax. The scary part isn’t really all that scary, unless you’d be scared by anyone grabbing your arm at any time and in any place. And after that, it gets even worse; it gets boring. The film completely ignores all need to be suspenseful when it begins answering questions, and the answers are far too typical and bland to sustain interest. And the film’s “big” climax may be the shortest, unexciting sequence in a horror film in years.
THE EYE is another step down in the Japanese horror remake trend. Understandably, this is a downward spiral that began when the trend did, but this film is a missed opportunity. It takes a clever premise and only half develops it, favoring instead to churn out something quick that horror junkies and teens will rush to on the first weekend. Well… at least Alba was given better contacts than she was in FANTASTIC FOUR 2. That’s about all that can be said.
*/****
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