Observe and Report
*1/2 out of ****
Seth Rogen has always been a love-him or hate-him guy. Before this film, I definitely was in the former club. The crudeness and sweet honesty that worked so well for him in films like Knocked Up and Zack and Miri Make a Porno turns him into an ugly brute in Observe and Report. In his other films, he always plays his characters so that no matter how badly he acts, no matter what sludge comes out of his mouth, he is always somehow likeable. This is certainly not the case for this film.
Rogen plays Ronnie, an inept and egotistical mall security guard that still lives at home with his alcoholic mother. He takes his job way too seriously. His co-workers, Dennis, played by Michael Pena with a lisp, and the Yuen twins add to his enormous ego. He has a stalkerish crush on Brandi, a makeup counter girl and obvious ditz played by Anna Faris, a good actress who always hides her talent by taking roles in films like this. When a man starts flashing women at the mall, including Brandi, Ronnie is determined to catch the guy to fulfill some epic quest of his to be a mall hero. Ray Liotta plays a police detective who keeps coming back to the mall, despite being easily annoyed by Ronnie. The plot is extremely cliche and many of the jokes fall flat.
The strange thing is, this movie actually starts off promising. The first ten or fifteen minutes have funny gags and make all the characters instantly loveable. Then, as the movie progresses, the jokes start becoming repetitive and Rogen's character gets less and less likeable, until we are all convinced he is insane and doesn't deserve to get what he wants. The ending is predictable, and also very implausible.
People who see this movie and love it will say that it was not supposed to be a great film, that it is simply cheap entertainment. Well, my argument is that this film was only minimally entertaining. The director is as inept as his main character if he thinks constant repetition of the line 'Fuck you' is the height of hilarity and that excessive and bloody violence belongs in a silly comedy like this. The film promised cheap comedy and failed to deliver.
I would only recommend this film to Seth Rogen fans.
You can watch the trailer here: http://www.youtube.com/watch?v=ekAQzff95E8
Saturday, April 11, 2009
Friday, April 10, 2009
Terminator: The Sarah Connor Chronicles
Terminator: The Sarah Connor Chronicles- Season 2
Note: This will NOT be a spoiler-free post.
I know I've only covered movies in my blog so far, but I watch television too, and there's plenty of good entertainment still on there. Besides, it's my blog, and I make the rules. Anyway, this is only a small departure from my usual subject matter because, after all, The Sarah Connor Chronicles is a show based on the Terminator movies. It can be confusing to those who are only mild fans of the movies, as it lies on a different timeline than the third and (upcoming) fourth movies.
I was skeptical about the potential of the show before it premiered. After all, the movies were rated R and were filled with brilliant action and awesome special effects. Those things can't be translated to the small screen; can they?
The first season proved that the concept would work on television. They simply alter the material to make it like a PG-13 film, and show the Connor family's continuing adventures that are hinted at in the movies. It takes place maybe five or so years after Terminator 2: Judgment Day, when Sarah Connor and her son John are on the run and constantly trying to stop Skynet from being built and Judgment Day from happening. Sarah is played by Lena Headey, who everyone knows from 300. John is played by Thomas Dekker, who most people will recognize from Heroes. Cameron is the Terminator, disguised as a young, hot girl, sent back through time to protect John. Cameron is brilliantly played by Firefly alum Summer Glau, and is definitely the favorite character of the series. Often the best part of a particular episode is something Cameron does or says. Other Terminators, all looking different from one another and none of them looking like Arnold Schwarzenegger, are sent back to do different jobs. There is always one that is looking for the Connors to kill them. The human resistance- led by a future John that we never see- also sends humans back through time. One of them happens to be Derek Reese, Kyle's brother. For everyone familiar with the mythology of the films, this means Derek is John's uncle. Derek is played by Brian Austin Green, who is best known for being engaged to Megan Fox in the real world. Season 1 ended with a car bomb blowing up with Cameron inside, leaving her fate unknown.
This season started out with the best episode of the series thus far. Cameron was not destroyed, but she was damaged, and she attempted to kill John. They fixed her, and continued their adventures. John met a girl at school, Riley, and fell in love with her. Cameron was jealous; Sarah disapproved. Eventually it was shown that Riley was from the future and her mission was to get John away from Cameron. Riley was killed by Jesse, Derek's girlfriend from the future. Derek then attempted to kill Jesse; whether or not he succeeded is unknown.
James Ellison, in the first season was an FBI agent. At the beginning of this season, he has seen enough evidence to believe the Connors' story and quits his job. He is slowly drawn to a big computer corporation looking to make the most advanced robots on the planet. The company is run by a Catherine Weaver, a Scottish woman that is more than she seems. It is revealed that Weaver died a while back, and a liquid metal Terminator has been living her life. Bringing in the liquid metal, made very popular in the second film, was a great addition to the show as it lured in more viewers and put a new spin on the show that is impossible to acheive with the limited run time of the movies. Garbage's lead singer Shirley Manson has a very impressive acting debut as Weaver.
While a good show, it is far from perfect, or even great television. For every exceptional episode that airs, a crappy weird one is also made. The show has just as many assets as it does pitfalls. Its strong points include John's new haircut, Cameron's faultiness, the aforementioned liquid metal Terminator, the episode where Sarah has to take care of a young boy targeted by machines, the origins of Cameron, the episode where a Terminator accidentally travels back to the 1920's, and a daytrip down to Mexico that turns deadly. Its weak points include the alien invasion episode, the sleep clinic episode, Sarah's unexplainable obsession with three dots, and the often creepy sexual tension between John and Cameron. The show's writers seem to write a lot of filler episodes, saving the good stuff for later, which is a good tactic to lose viewers quickly. The show's time slot being switched from Monday to Friday nights didn't help either.
Due to the writer's strike, season 1 was vastly shortened down to a pathetic nine episodes. Season 2 was given more or less a full season with twenty-two episodes. The extra time allowed for a lot more character development and free range for new characters to come, go and get killed. I would have to say that the second season was better, despite its obvious faults. The first season tried to bring viewers in by giving them exactly what they expected and wanted: lots of robots fighting in long action sequences. However, the second season excels by largely staying away from mindless sequences like that. (Although the occasional robot fight is thrown in, and it is always welcome.) The second season focused on a lot deeper issues that the first season was only able to briefly touch on: topics like the difference between computer intelligence and human wisdom, the role of religion in this death-filled sci-fi universe, young love and the yearning for a normal life, and above all, the connection between a mother and her child. It is when the show does quiet scenes with just two actors that its true colors come out, and it is that aspect of it that brought me back to watch it week after week, even on the awkward Friday night time slot.
As for the season finale, it was actually kind of a letdown, except for the last five minutes, in which Sarah and John are separated, potentially forever. The second-to-last episode was actually much better, in which Savannah, Weaver's young daughter is targeted and saved by the Connors. Derek is killed (who saw THAT one coming?!) and Sarah is arrested by police, leaving John alone with Cameron. In the finale, they attack the police station and free Sarah and visit Weaver. Surprisingly, she is a benevolent Terminator that apparently has been programmed to help the Connors. Cameron finds John Henry and removes her own chip and gives it to him. (If you haven't been watching, John Henry was a Terminator trying to kill John before they destroyed his chip. But, his super-advanced body was stolen by Ellison and experimented on by Weaver and her company. They were training it to be a good Terminator that could help the world, not kill people.) They have also apparently built a time-travel device in the basement of the building (that, conveniently, has never been mentioned before). John Henry used it to travel through time, so Weaver and John follow him. Sarah refuses to go; she stays in the present with Ellison. When they arrive, John finds out he is in the apocalyptic war-torn future where, in a Pulp Fiction-like twist, Derek is alive, and he gets to meet his father Kyle for the first time.
The whole thing was obviously a set-up for the third season. Well, more like a promise for what the third season could potentially hold. The show's ratings have been dropping steadily and it is very possible that it will not be renewed for a third season. The episode that aired tonight would have been a very disappointing series finale.
So, if you have not watched the show, take a look at it online. If enough interest is built, Fox may decide not to cancel it and bring it back. The show is fun to watch and the Terminator story is very relevant to today, as it could plausibly happen that humans could be at war with the machines we make.
One final note: has anyone else noticed that they never actually say the word 'Terminator' in the show except when referring to the title? They always say 'cyborg' or 'robot,' or 'metal,' the future people's nickname for all things robotic. My guess is that this is a legal thing; the show's producers don't own the rights to the word. But the show is being produced by the same company that is making Terminator: Salvation, the next film in the franchise. Does that mean they won't be able to say 'Terminator' in the movie either? This is mildly annoying and I hope it's a problem they can fix. It's hard to fight an epic war with an enemy when you can't even say their name.
Note: This will NOT be a spoiler-free post.
I know I've only covered movies in my blog so far, but I watch television too, and there's plenty of good entertainment still on there. Besides, it's my blog, and I make the rules. Anyway, this is only a small departure from my usual subject matter because, after all, The Sarah Connor Chronicles is a show based on the Terminator movies. It can be confusing to those who are only mild fans of the movies, as it lies on a different timeline than the third and (upcoming) fourth movies.
I was skeptical about the potential of the show before it premiered. After all, the movies were rated R and were filled with brilliant action and awesome special effects. Those things can't be translated to the small screen; can they?
The first season proved that the concept would work on television. They simply alter the material to make it like a PG-13 film, and show the Connor family's continuing adventures that are hinted at in the movies. It takes place maybe five or so years after Terminator 2: Judgment Day, when Sarah Connor and her son John are on the run and constantly trying to stop Skynet from being built and Judgment Day from happening. Sarah is played by Lena Headey, who everyone knows from 300. John is played by Thomas Dekker, who most people will recognize from Heroes. Cameron is the Terminator, disguised as a young, hot girl, sent back through time to protect John. Cameron is brilliantly played by Firefly alum Summer Glau, and is definitely the favorite character of the series. Often the best part of a particular episode is something Cameron does or says. Other Terminators, all looking different from one another and none of them looking like Arnold Schwarzenegger, are sent back to do different jobs. There is always one that is looking for the Connors to kill them. The human resistance- led by a future John that we never see- also sends humans back through time. One of them happens to be Derek Reese, Kyle's brother. For everyone familiar with the mythology of the films, this means Derek is John's uncle. Derek is played by Brian Austin Green, who is best known for being engaged to Megan Fox in the real world. Season 1 ended with a car bomb blowing up with Cameron inside, leaving her fate unknown.
This season started out with the best episode of the series thus far. Cameron was not destroyed, but she was damaged, and she attempted to kill John. They fixed her, and continued their adventures. John met a girl at school, Riley, and fell in love with her. Cameron was jealous; Sarah disapproved. Eventually it was shown that Riley was from the future and her mission was to get John away from Cameron. Riley was killed by Jesse, Derek's girlfriend from the future. Derek then attempted to kill Jesse; whether or not he succeeded is unknown.
James Ellison, in the first season was an FBI agent. At the beginning of this season, he has seen enough evidence to believe the Connors' story and quits his job. He is slowly drawn to a big computer corporation looking to make the most advanced robots on the planet. The company is run by a Catherine Weaver, a Scottish woman that is more than she seems. It is revealed that Weaver died a while back, and a liquid metal Terminator has been living her life. Bringing in the liquid metal, made very popular in the second film, was a great addition to the show as it lured in more viewers and put a new spin on the show that is impossible to acheive with the limited run time of the movies. Garbage's lead singer Shirley Manson has a very impressive acting debut as Weaver.
While a good show, it is far from perfect, or even great television. For every exceptional episode that airs, a crappy weird one is also made. The show has just as many assets as it does pitfalls. Its strong points include John's new haircut, Cameron's faultiness, the aforementioned liquid metal Terminator, the episode where Sarah has to take care of a young boy targeted by machines, the origins of Cameron, the episode where a Terminator accidentally travels back to the 1920's, and a daytrip down to Mexico that turns deadly. Its weak points include the alien invasion episode, the sleep clinic episode, Sarah's unexplainable obsession with three dots, and the often creepy sexual tension between John and Cameron. The show's writers seem to write a lot of filler episodes, saving the good stuff for later, which is a good tactic to lose viewers quickly. The show's time slot being switched from Monday to Friday nights didn't help either.
Due to the writer's strike, season 1 was vastly shortened down to a pathetic nine episodes. Season 2 was given more or less a full season with twenty-two episodes. The extra time allowed for a lot more character development and free range for new characters to come, go and get killed. I would have to say that the second season was better, despite its obvious faults. The first season tried to bring viewers in by giving them exactly what they expected and wanted: lots of robots fighting in long action sequences. However, the second season excels by largely staying away from mindless sequences like that. (Although the occasional robot fight is thrown in, and it is always welcome.) The second season focused on a lot deeper issues that the first season was only able to briefly touch on: topics like the difference between computer intelligence and human wisdom, the role of religion in this death-filled sci-fi universe, young love and the yearning for a normal life, and above all, the connection between a mother and her child. It is when the show does quiet scenes with just two actors that its true colors come out, and it is that aspect of it that brought me back to watch it week after week, even on the awkward Friday night time slot.
As for the season finale, it was actually kind of a letdown, except for the last five minutes, in which Sarah and John are separated, potentially forever. The second-to-last episode was actually much better, in which Savannah, Weaver's young daughter is targeted and saved by the Connors. Derek is killed (who saw THAT one coming?!) and Sarah is arrested by police, leaving John alone with Cameron. In the finale, they attack the police station and free Sarah and visit Weaver. Surprisingly, she is a benevolent Terminator that apparently has been programmed to help the Connors. Cameron finds John Henry and removes her own chip and gives it to him. (If you haven't been watching, John Henry was a Terminator trying to kill John before they destroyed his chip. But, his super-advanced body was stolen by Ellison and experimented on by Weaver and her company. They were training it to be a good Terminator that could help the world, not kill people.) They have also apparently built a time-travel device in the basement of the building (that, conveniently, has never been mentioned before). John Henry used it to travel through time, so Weaver and John follow him. Sarah refuses to go; she stays in the present with Ellison. When they arrive, John finds out he is in the apocalyptic war-torn future where, in a Pulp Fiction-like twist, Derek is alive, and he gets to meet his father Kyle for the first time.
The whole thing was obviously a set-up for the third season. Well, more like a promise for what the third season could potentially hold. The show's ratings have been dropping steadily and it is very possible that it will not be renewed for a third season. The episode that aired tonight would have been a very disappointing series finale.
So, if you have not watched the show, take a look at it online. If enough interest is built, Fox may decide not to cancel it and bring it back. The show is fun to watch and the Terminator story is very relevant to today, as it could plausibly happen that humans could be at war with the machines we make.
One final note: has anyone else noticed that they never actually say the word 'Terminator' in the show except when referring to the title? They always say 'cyborg' or 'robot,' or 'metal,' the future people's nickname for all things robotic. My guess is that this is a legal thing; the show's producers don't own the rights to the word. But the show is being produced by the same company that is making Terminator: Salvation, the next film in the franchise. Does that mean they won't be able to say 'Terminator' in the movie either? This is mildly annoying and I hope it's a problem they can fix. It's hard to fight an epic war with an enemy when you can't even say their name.
Monday, March 30, 2009
Tell Me I'm Not the Only One...
The Art of the Studio Logo
When I go see a movie in theatres, I like to arrive early. There are several reasons for this. Save a good seat. Have plenty of time to get snacks. Not having to search around for a seat in the dark. See all the previews. But, there's one more reason that may or may not be unique to me. I like to see the logo(s) at the beginning of the films. You know: the brief animated shots telling you what studio made the film, be it Warner Bros., 20th Century Fox, Disney, whatever. There are dozens of studios in America that produce films that show in public theatres, hundreds more that make independent films. The possibilities for logos are endless.
I'm fascinated with logos, for reasons very much explainable. The colors are so vibrant, it's like actually watching a painter finish a masterpiece. No matter how small or how bad the film is, the logo is allowed to be huge and beautiful. The music is usually very big and theatrical, like the announcing of the arrival of an emperor. But it can also be very quiet and thoughtful. Some filmmakers choose to use their own music for the logo, or even unoriginal music or a song, or background noise of the opening scene. Some logos are absolutely silent.
The very existence of logos in films is a paradox. They are essentially unnecessary for viewing the movie; after all, they are never part of the story and often stand alone from the entire film. But, they are mandatory if the studio wants to make any money. Just like an author puts his or his name on the cover of a book, a director puts his or her name in the credits. The publishing company puts its logo on the spine of a book and on the cover page, where the reader can easily skip it. The producing company must puts its name on a movie to show the work it's done; but it's so much more than giving credit where credit is due. It has a place that cannot be equalled in any other medium: books, radio, even the Internet.
Think about it: logos are at the beginning of almost every single movie you've ever seen, regardless of what kind of movie it is, or even how old it is. (I can only think of one movie that doesn't open with a logo: Pirates of the Caribbean: The Curse of the Black Pearl simply opens with the title fading in. Of course, Disney made the film. The only reason I can think of for them not slapping a logo on it is because they thought it would be a flop. That, coupled with the fact that is was rated PG-13 and was not suitable for children maybe made Disney want to back away from attaching its face to the film. This, of course, backfired because the film was a big hit, and they actually used the sequel, Dead Man's Chest, as the first film to feature their new logo.) Depending on the studio, you'll see very different things. (see photos below for examples)
Most studios choose the big, theatrical logos. After all, they want their company associated with greatness and epic filmmaking. 20th Century Fox is a good example, as it starts with a drumroll that combines with trumpets and big fanfare, almost like a military march. The shot is a sweeping vista of the large words and spotlights on top of a large hill, supposedly overlooking Hollywood. Paramount is another good example, as the logo follows a line of stars until they form a half-halo around a tall mountain above the clouds. This shot is incredible and makes you feel like you're looking at the summit of Everest. Oddly, this logo is silent and requires the filmmakers to put in their own sound. The logo for Walt Disney Pictures for a long time was simply the outline of a castle and a half-circle drawn around it, followed by the words flashing on beneath, while wistful kid-friendly music plays. Then they changed it to a strange dark logo that was looked like it was supposed to be a candle looking upon the logo carved into the side of a cave. This logo was not consistent with the kid-friendly movies the studio produced. But then they changed it to the big, epic shot that is an awesome update of the original. The shot shows a peaceful, beautiful land guaraded by the familiar castle. Once the camera pans out in front, exposing the river leading through the front gates, a tiny Tinker Bell makes the half-circle and pixie dust creates the words. The same music is brought back and updated to be much bigger.
My personal favorite would have to be Universal: those big words floating around the planet Earth as big, epic music plays. So simple and yet so complex and beautiful. And of course it exemplifies the name of the studio perfectly.
I'm fascinated with logos, for reasons very much explainable. The colors are so vibrant, it's like actually watching a painter finish a masterpiece. No matter how small or how bad the film is, the logo is allowed to be huge and beautiful. The music is usually very big and theatrical, like the announcing of the arrival of an emperor. But it can also be very quiet and thoughtful. Some filmmakers choose to use their own music for the logo, or even unoriginal music or a song, or background noise of the opening scene. Some logos are absolutely silent.
The very existence of logos in films is a paradox. They are essentially unnecessary for viewing the movie; after all, they are never part of the story and often stand alone from the entire film. But, they are mandatory if the studio wants to make any money. Just like an author puts his or his name on the cover of a book, a director puts his or her name in the credits. The publishing company puts its logo on the spine of a book and on the cover page, where the reader can easily skip it. The producing company must puts its name on a movie to show the work it's done; but it's so much more than giving credit where credit is due. It has a place that cannot be equalled in any other medium: books, radio, even the Internet.
Think about it: logos are at the beginning of almost every single movie you've ever seen, regardless of what kind of movie it is, or even how old it is. (I can only think of one movie that doesn't open with a logo: Pirates of the Caribbean: The Curse of the Black Pearl simply opens with the title fading in. Of course, Disney made the film. The only reason I can think of for them not slapping a logo on it is because they thought it would be a flop. That, coupled with the fact that is was rated PG-13 and was not suitable for children maybe made Disney want to back away from attaching its face to the film. This, of course, backfired because the film was a big hit, and they actually used the sequel, Dead Man's Chest, as the first film to feature their new logo.) Depending on the studio, you'll see very different things. (see photos below for examples)
Most studios choose the big, theatrical logos. After all, they want their company associated with greatness and epic filmmaking. 20th Century Fox is a good example, as it starts with a drumroll that combines with trumpets and big fanfare, almost like a military march. The shot is a sweeping vista of the large words and spotlights on top of a large hill, supposedly overlooking Hollywood. Paramount is another good example, as the logo follows a line of stars until they form a half-halo around a tall mountain above the clouds. This shot is incredible and makes you feel like you're looking at the summit of Everest. Oddly, this logo is silent and requires the filmmakers to put in their own sound. The logo for Walt Disney Pictures for a long time was simply the outline of a castle and a half-circle drawn around it, followed by the words flashing on beneath, while wistful kid-friendly music plays. Then they changed it to a strange dark logo that was looked like it was supposed to be a candle looking upon the logo carved into the side of a cave. This logo was not consistent with the kid-friendly movies the studio produced. But then they changed it to the big, epic shot that is an awesome update of the original. The shot shows a peaceful, beautiful land guaraded by the familiar castle. Once the camera pans out in front, exposing the river leading through the front gates, a tiny Tinker Bell makes the half-circle and pixie dust creates the words. The same music is brought back and updated to be much bigger.
My personal favorite would have to be Universal: those big words floating around the planet Earth as big, epic music plays. So simple and yet so complex and beautiful. And of course it exemplifies the name of the studio perfectly.
Other logos are smaller and prefer tradition and sticking to the classic values to the big, epic ones. Metro-Goldwyn-Mayer is a good example. That logo has barely changed for almost a hundred years. That lion's roar is still as dramatic today as it was back in the 20's. Warner Bros. Pictures, while updating its logo to put the big letters in front of a beautiful cloudy sky, still keeps its same basic look. The music now features the tune from "You Must Remember This" from the legendary Warner Bros. movie Casablanca, then it becomes a big fanfare.
Other logos are less impressive and show a considerable lack of effort. New Line Cinema is particularly unusual. It features falling ladders connecting to a black box in front of a blue light. It makes no sense and features very simple music. I've also never understood the logo for Touchstone Pictures; a lightning bolt on a rock. Uh, did they pay someone to come up with that? The Weinstein brothers, after leaving Miramax (which has a fairly cool new logo) formed The Weinstein Company (or TWC, as it is sometimes seen to be called). Their logo is fairly disappointing, simply three triangles fading away, leaving the words at the bottom on a black screen, and cheesy dramatic music. The logo for Lucasfilm Ltd. is in the middle; it is simply the words starting out in green glittering to gold, against a black screen. It's very simple, perhaps too simple, but it leaves the filmmaker (basically George Lucas or Steven Spielberg) room to do whatever they want with it. For all the Star Wars films, Lucas actually merged it with the 20th Century Fox logo, allowing the fanfare music to play over his own logo.
Independent studios always have interesting logos because they can essentially do whatever they want. Fox Searchlight Pictures, being owned by 20th Century Fox, copies its parent company's logo with the same words on top of a hill and fanfare, but the words look unnatural. 'Fox' is too spread out and 'Searchlight' is too squished. The now-extinct Warner Independent Pictures had an interesting logo: starting out with the WB logo, fading out the B, and dotting one line on the W to make an I. The only logo I've never really liked is the one for the independent Picturehouse, also extinct. It's also the only logo that is more than one shot. It shows the words being lit up on top of a large building, supposedly a theatre. It tries to be very dramatic and like it's part of the film. A logo is not supposed to look like part of the film, it is simply supposed to introduce the company and show its values in less than ten seconds.
Of course, the longest logo I know of is that for Pixar Animation Studios, which features the adorable hopping lamp crushing the I and taking its place. This company makes movies for children and families, so this is oddly appropriate. It shows that the company has a sense of humor and strives to bring the best possible animation quality, even in its logo. You're even entertained a little bit before the movie even starts. Could you imagine anything else in front of a Pixar film?
Some random miscellaneous logos: DreamWorks is very odd, featuring a man fishing from the moon, which fades into the words among the clouds. I've never understood this, although it seems very much like a dream, so I guess it fits. Lionsgate's new logo features a very complex city/machine that zooms out to reveal a door, which opens to reveal the word floating in a heaven-like cloudy place. This is probably too dramatic, but a great improvement over its boring standard logo the company began with. The logo for Marvel Studios is slightly different for every film, flipping pages from the comic books that the particular movies are based on, and they somehow fade into the white letters over a red background, which echo the actual logo shown on the comic books. DC Comics films also shows black-and-white renders of comic-book pages, which then transforms into the logo, which also is very similar to the actual comic-book logo. They're both similar, but Marvel does it better.
Well, I realize this post was kind of pointless, but I hope at the very least I've caused you to think about the logos and not ignore them the next time you see a movie. I know they're not needed, and a good logo has nothing to do with the quality of the movie. In fact, in a comedy, drama, or low-budget indie film, the logo might be the best visual effect in the entire film. I just find them fascinating to look at: like little mini-movies in themselves that tell mini-stories.
Friday, March 20, 2009
I Love You, Man **1/2
I Love You, Man
**1/2 out of ****
Many critics have dubbed this movie a "bromance" or "bromantic comedy." Well, that's because that's exactly what it is.
I Love You, Man is a love story of friendship between two straight men. There is also a love story of a man and a woman, but that is almost secondary. It is also a comedy from the Judd Apatow school of film. It stars Paul Rudd as Peter and Jason Segel as Sydney. Peter just got engaged to Zooey (Rashida Jones, who you'll recognize from The Office), the woman of his dreams, but quickly realizes he has no male friends to be his best man. Thus starts the comedic montages of Peter's misadventures in trying to find a friend. He eventually meets Sydney, basically the coolest guy in the world, and they become instant buddies. A problem develops when Zooey thinks Peter is spending too much time with his new best friend. The funny supporting cast include Jon Favreau and Jaime Pressly as an oddball couple and Lou Ferrigno as himself.
The film is predictable, with a few belly laughs here and there, but its real charm lies in Rudd's performance as a complete dweeb who tries too hard to connect with the guys. It seems like he's improvising most of his lines, because he probably is.
This film marks the beginning of a new era in romantic comedies, a genre before now mostly limited to chick flicks, but now stepping out to appeal to guys as well. (Films like Knocked Up were early pioneers in this department, but they were marketed mostly to guys, while this film is directed towards everybody.) Like most chick flicks, this film is unremarkable, but not terrible or even inherently bad. It delivers the laughs and the (scant) tears in an entertaining way, which makes it a great date movie, even if you're not going with a date. Like Peter and Sydney do in the movie, make this a man-date.
I would recommend this movie to fans of the stars and to fans of Judd Apatow movies like The 40 Year Old Virgin, and people who like simple comedies.
You can watch the trailer here: http://www.youtube.com/watch?v=mNElMm8otiM
**1/2 out of ****
Many critics have dubbed this movie a "bromance" or "bromantic comedy." Well, that's because that's exactly what it is.
I Love You, Man is a love story of friendship between two straight men. There is also a love story of a man and a woman, but that is almost secondary. It is also a comedy from the Judd Apatow school of film. It stars Paul Rudd as Peter and Jason Segel as Sydney. Peter just got engaged to Zooey (Rashida Jones, who you'll recognize from The Office), the woman of his dreams, but quickly realizes he has no male friends to be his best man. Thus starts the comedic montages of Peter's misadventures in trying to find a friend. He eventually meets Sydney, basically the coolest guy in the world, and they become instant buddies. A problem develops when Zooey thinks Peter is spending too much time with his new best friend. The funny supporting cast include Jon Favreau and Jaime Pressly as an oddball couple and Lou Ferrigno as himself.
The film is predictable, with a few belly laughs here and there, but its real charm lies in Rudd's performance as a complete dweeb who tries too hard to connect with the guys. It seems like he's improvising most of his lines, because he probably is.
This film marks the beginning of a new era in romantic comedies, a genre before now mostly limited to chick flicks, but now stepping out to appeal to guys as well. (Films like Knocked Up were early pioneers in this department, but they were marketed mostly to guys, while this film is directed towards everybody.) Like most chick flicks, this film is unremarkable, but not terrible or even inherently bad. It delivers the laughs and the (scant) tears in an entertaining way, which makes it a great date movie, even if you're not going with a date. Like Peter and Sydney do in the movie, make this a man-date.
I would recommend this movie to fans of the stars and to fans of Judd Apatow movies like The 40 Year Old Virgin, and people who like simple comedies.
You can watch the trailer here: http://www.youtube.com/watch?v=mNElMm8otiM
Saturday, March 14, 2009
Watchmen ***
Watchmen
*** out of ****
Let me begin with the disclaimer that I have not read the graphic novel and have no intention to in the near future. Going into the movie, I had only a vague idea of what it was about and what to expect. I was told it was a love-it or hate-it thing, depending on whether or not you had read the book. I had seen the trailers and TV spots and was not very impressed with my first impression. It seemed that Zack Snyder and Warner Bros. were attempting to make the biggest, most epic, and not to mention best, superhero movie ever. Because all of the heroes in the movie were unknown except to those who had read the book, it seemed destined to fail. But being the movie buff that I am, I had to think of another project that was a similar love-it or hate-it prospect. In the late 1980s, Robert Zemeckis attempted to make the most epic animated movie in history, by inserting animated characters into the real world in a way no one had seen before. This movie, of course, was Who Framed Roger Rabbit. It was decided that the star of that movie would be a completely unknown character, not a famous one like Mickey Mouse or Bugs Bunny. Like that movie, Watchmen would not have worked if it was about a famous character like Superman or Batman. Although the formula is not perfect, Watchmen has certainly earned the title of most epic superhero movie ever. As for being the best, well, it falls a little short.
The characters that dot the film are all unique to the mind of the original writers and have never been seen in anything else. Some are more enjoyable to watch than others, but all are extremely well-developed. The Comedian is a big brute that likes to womanize. The smiley-face is his logo. Silk Spectre, the only girl in the group, is simply following her superheroine mother into crimefighting. Nite Owl is the peacemaker that tries to avoid a conflict at all costs, but can kick serious ass if need be. Rorschach, brilliantly played by Jackie Earle Haley, is a loner psychopath with a troubled childhood that doesn't like being part of a group. He spends most of his screen time hidden behind a mask shifting into different ink blots, a disguise he adopts as his true self, shown in that he calls his mask his 'face.' And, Dr. Manhattan is an omniscient being covered in blue light that can be in several places at once, see the future, and become as huge as he wants. Ironically, he is the only one with actual superpowers and arguably one of the most powerful superheroes ever invented in all comics.
The film takes place in an alternate 1985 where Richard Nixon has been elected to his fifth term as president and crimefighters are people in masks claiming to be superheroes. The Watchmen were a group of six superheroes that dispersed when a law was passed outlawing masked crimefighting. The movie opens with the Comedian, a former Watchman, being murdered in his apartment. Rorschach investigates and warns his fellow team members that he thinks someone is out to kill them all. The Watchmen reunite with each other, causing some old alliances to be broken and love interests to be switched. Giving away any plot points beyond this would be spoiling, but I will say that it is a very complex story with many twists and turns that lead it in interesting and unique directions.
The movie plays out like a serial from the 40's or 50's with its sometimes cliched story, but its characters and content are completely contemporary. The film has gratuitous nudity, mostly from Dr. Manhattan, who apparently is so distant from humanity that he never feels the need to wear clothes. It also has so much gruesome and bloody violence that it competes with the Saw movies in hacking up people. They were really going for the R rating on this one. Also, its use of 80's songs is cool and sets the timeframe, although some were used inappropriately.
Watchmen is flawed, of course. The best example is its structure, which feels like the serialized graphic novel it originates from, in that some scenes go on too long and it lacks the many gripping action sequences that mark all superhero movies. It also goes on too long, but a film this complex is allowed to be long. The film is epic in scale and will surely bring attention to the already-famous graphic novel. It is a good film that deserves some recognition, if not for being the best superhero movie ever, at least for bringing an unfilmable novel to the screen in a way no one could have imagined.
I would recommend this movie to fans of the graphic novel, fans of comic book movies, and dark action films. Not intended for girls who don't like violence. Absolutely not intended for children.
You can watch the trailer here: http://www.youtube.com/watch?v=2VLA0tg5yI0
*** out of ****
Let me begin with the disclaimer that I have not read the graphic novel and have no intention to in the near future. Going into the movie, I had only a vague idea of what it was about and what to expect. I was told it was a love-it or hate-it thing, depending on whether or not you had read the book. I had seen the trailers and TV spots and was not very impressed with my first impression. It seemed that Zack Snyder and Warner Bros. were attempting to make the biggest, most epic, and not to mention best, superhero movie ever. Because all of the heroes in the movie were unknown except to those who had read the book, it seemed destined to fail. But being the movie buff that I am, I had to think of another project that was a similar love-it or hate-it prospect. In the late 1980s, Robert Zemeckis attempted to make the most epic animated movie in history, by inserting animated characters into the real world in a way no one had seen before. This movie, of course, was Who Framed Roger Rabbit. It was decided that the star of that movie would be a completely unknown character, not a famous one like Mickey Mouse or Bugs Bunny. Like that movie, Watchmen would not have worked if it was about a famous character like Superman or Batman. Although the formula is not perfect, Watchmen has certainly earned the title of most epic superhero movie ever. As for being the best, well, it falls a little short.
The characters that dot the film are all unique to the mind of the original writers and have never been seen in anything else. Some are more enjoyable to watch than others, but all are extremely well-developed. The Comedian is a big brute that likes to womanize. The smiley-face is his logo. Silk Spectre, the only girl in the group, is simply following her superheroine mother into crimefighting. Nite Owl is the peacemaker that tries to avoid a conflict at all costs, but can kick serious ass if need be. Rorschach, brilliantly played by Jackie Earle Haley, is a loner psychopath with a troubled childhood that doesn't like being part of a group. He spends most of his screen time hidden behind a mask shifting into different ink blots, a disguise he adopts as his true self, shown in that he calls his mask his 'face.' And, Dr. Manhattan is an omniscient being covered in blue light that can be in several places at once, see the future, and become as huge as he wants. Ironically, he is the only one with actual superpowers and arguably one of the most powerful superheroes ever invented in all comics.
The film takes place in an alternate 1985 where Richard Nixon has been elected to his fifth term as president and crimefighters are people in masks claiming to be superheroes. The Watchmen were a group of six superheroes that dispersed when a law was passed outlawing masked crimefighting. The movie opens with the Comedian, a former Watchman, being murdered in his apartment. Rorschach investigates and warns his fellow team members that he thinks someone is out to kill them all. The Watchmen reunite with each other, causing some old alliances to be broken and love interests to be switched. Giving away any plot points beyond this would be spoiling, but I will say that it is a very complex story with many twists and turns that lead it in interesting and unique directions.
The movie plays out like a serial from the 40's or 50's with its sometimes cliched story, but its characters and content are completely contemporary. The film has gratuitous nudity, mostly from Dr. Manhattan, who apparently is so distant from humanity that he never feels the need to wear clothes. It also has so much gruesome and bloody violence that it competes with the Saw movies in hacking up people. They were really going for the R rating on this one. Also, its use of 80's songs is cool and sets the timeframe, although some were used inappropriately.
Watchmen is flawed, of course. The best example is its structure, which feels like the serialized graphic novel it originates from, in that some scenes go on too long and it lacks the many gripping action sequences that mark all superhero movies. It also goes on too long, but a film this complex is allowed to be long. The film is epic in scale and will surely bring attention to the already-famous graphic novel. It is a good film that deserves some recognition, if not for being the best superhero movie ever, at least for bringing an unfilmable novel to the screen in a way no one could have imagined.
I would recommend this movie to fans of the graphic novel, fans of comic book movies, and dark action films. Not intended for girls who don't like violence. Absolutely not intended for children.
You can watch the trailer here: http://www.youtube.com/watch?v=2VLA0tg5yI0
Monday, February 23, 2009
Oscar Winners
The biggest movie event of the year happened on Sunday night. I was watching raptly; were you?
The Oscars exploded back onto the small screen to celebrate the acheivments on the big screen of the past year. Host Hugh Jackman was a good choice as a counter to the usual comedy man, like Billy Crystal or Jon Stewart. He did make some good jokes, including a guess as to why he wasn't nominated for Australia (because he's Australian). The highlight of his performance was definitely his opening number, in which he said since the country was in a recession, they had to cut back on sets and he made them all in his garage. So, on cardboard sets, he made hilarious songs about Slumdog Millionaire, Milk, Benjamin Button, Frost/Nixon, and The Dark Knight. My personal favorite was the Frost/Nixon bit, where he randomly grabbed Anne Hathaway from the audience to play Nixon in his skit. ("Frank Langella was sitting right next to me!") The second musical sequence, in which he celebrated the success of Mamma Mia! at the box office and the supposed return of the movie musical, was entirely unnecessary but a good energy-upper.
The format of this year was so clever, and yet so obvious, it makes me wonder why no one thought of it before. The evening was structured to tell a narrative about making a movie, starting with the screenplay awards, moving on to costumes and makeup, and finishing with post-production elements like music, visual effects, and sound. The major awards were sprinkled in between, with Director, Actress, Actor, and Best Picture being the last, suspenseful awards given.
Each acting award had five previous winners of that award take the stage, including last year's winners Tilda Swinton and Marion Cotillard. Each of the presenters addressed one nominee directly and praised their performance, at the end of which one of them opened the envelope and announced the winner. This was a good idea, but the praising went on uncomfortably long and was missing one vital element-the film clip. This is why some people watch the show, just to see film clips of the nominated films they did not see. While other categories used clips as normal, the four acting awards did not, leaving a sort of emptiness once the award was handed out. The producers did not think of the audience on that one.
Well, I still enjoyed the ceremony and hope that Hugh Jackman will return to host sometime in the future. Below are all the winners, complete with my commentary and comparison to my predictions. I got 15 out of 24 categories correct. Less than what I'd hoped for, but still more than half.
Best Picture
( ) The Curious Case of Benjamin Button
( ) Frost/Nixon
( ) Milk
( ) The Reader
(x) Slumdog Millionaire
Correct. Slumdog came out the year's biggest film with ten nominations and an astonishing eight wins. This win marks the end of a long awards season that had this film in front for most of it. Over the next year, expect many romantic films set on game shows.
Best Director
( ) David Fincher, The Curious Case of Benjamin Button
( ) Ron Howard, Frost/Nixon
( ) Gus Van Sant, Milk
( ) Stephen Daldry, The Reader
(x) Danny Boyle, Slumdog Millionaire
Correct. The Best Picture and Director awards matched up this year, as they do maybe three-fourths of the time. Boyle deserves it for making the feel-good movie of the year and for it being his first nomination. Bet you didn't expect this from the guy who did 28 Days Later and Sunshine. Can't wait to see what he does next.
Best Actor
( ) Richard Jenkins, The Visitor
( ) Frank Langella, Frost/Nixon
(x) Sean Penn, Milk
( ) Brad Pitt, The Curious Case of Benjamin Button
( ) Mickey Rourke, The Wrestler
Incorrect. I guessed Rourke would take it, but Penn was my personal preference, so I'm happy. Penn gave a beatiful acceptance speech about earning equal rights for gays which again makes me wonder who the hell voted for Proposition 8 in California. Although Rourke was extraordinary, Penn deserves it for bring Milk back to life. Milk won two awards, making it one of only four films to win multiple awards.
Best Actress
( ) Anne Hathaway, Rachel Getting Married
( ) Angelina Jolie, Changeling
( ) Melissa Leo, Frozen River
( ) Meryl Streep, Doubt
(x) Kate Winslet, The Reader
Correct. As predicted, the Academy gave Winslet her first Oscar after five previous losses. I didn't have a lot of love for that movie, but Winslet was still stunning in it. She deserves it just for being one of the greatest actresses alive. (She should have won for Titanic way back when!)
Best Supporting Actor
( ) Josh Brolin, Milk
( ) Robert Downey, Jr., Tropic Thunder
( ) Philip Seymour Hoffman, Doubt
(x) Heath Ledger, The Dark Knight
( ) Michael Shannon, Revolutionary Road
Correct. The Academy simply couldn't resist awarding Ledger for one of the most terrifying screen villains in history. I hate to say it, but the fact that he died actually helped his chances. This is only the second posthumous acting award in history, and it's got to be the first acting Oscar for a comic book movie. He completely deserved it; it's only a shame he didn't live to win it himself. The Dark Knight walked away with two Oscars; not bad for a sequel to a big superhero movie franchise.
Best Supporting Actress
( ) Amy Adams, Doubt
(x) Penelope Cruz, Vicky Cristina Barcelona
( ) Viola Davis, Doubt
( ) Taraji P. Henson, The Curious Case of Benjamin Button
( ) Marisa Tomei, The Wrestler
Incorrect. The Academy has lost their minds. I'll admit, I'm biased, I haven't seen the movie, and I don't like Cruz or Woody Allen. But her comic performance just doesn't seem to have the gusto needed for an Oscar. I would have been much happier with anyone else on the list.
Best Adapted Screenplay
( ) The Curious Case of Benjamin Button
( ) Doubt
( ) Frost/Nixon
( ) The Reader
(x) Slumdog Millionaire
Correct. Slumdog won for writing to go along with Best Picture and Director. I don't know much about the book it originated from, but this film doesn't feel like it's adapted from anything. It feels completely original in every respect, even though it's essentially a formula film set in Mumbai. I'd be interested to see what this screenwriter does next.
Best Original Screenplay
( ) Frozen River
( ) Happy-Go-Lucky
( ) In Bruges
(x) Milk
( ) WALL-E
Correct. As the only Best Picture nominee of the bunch, Milk easily won this prize. Dustin Lance Black's acceptance speech was one of the highlights of the evening, as he promised all of his gay audience members that God loves them and soon they will have equal rights. A very impressive script from a first-time writer; hope he makes more like these in the future.
Best Original Score
( ) The Curious Case of Benjamin Button
( ) Defiance
( ) Milk
(x) Slumdog Millionaire
( ) WALL-E
Correct. Slumdog's soundtrack's unique sound took this award away from the more traditional scores. If you haven't heard the soundtrack, I encourage you to check it out; it's a little taste of Bollywood.
Best Original Song
( ) "Down to Earth," WALL-E
(x) "Jai Ho," Slumdog Millionaire
( ) "O Saya," Slumdog Millionaire
Incorrect. Maybe I should have seen this one coming, but typically, multiple nominations here is bad luck. "Jai Ho" is completely in Hindi, and is a heavily choreographed dance sequence played out during the end credits that doesn't really make sense with the rest of the film. Regardless, it's almost impossible not to fall in love with it. Again, check out this song on the soundtrack if you haven't.
Best Film Editing
( ) The Curious Case of Benjamin Button
( ) The Dark Knight
( ) Frost/Nixon
( ) Milk
(x) Slumdog Millionaire
Incorrect. This year's editing Oscar squared up with Best Picture as it often does. I still think The Dark Knight is more worthy, but since it didn't get nominated for the top spot, maybe its nomination is its victory. Slumdog's editing does help set the mood nicely.
Best Cinematography
( ) Changeling
( ) The Curious Case of Benjamin Button
( ) The Dark Knight
( ) The Reader
(x) Slumdog Millionaire
Correct. Although I prefered The Dark Knight to win here, I correctly guessed that Slumdog's handheld camerawork would prevail. It puts the viewer right next to the action and adds to the excitement of already exciting scenes.
Best Makeup
(x) The Curious Case of Benjamin Button
( ) The Dark Knight
( ) Hellboy II: The Golden Army
Correct. The makeup helped age Brad Pitt in reverse and Cate Blanchett and Taraji P. Henson forward. Although Hellboy's work is impressive, it was all just monsters, which is kind of easy to do, and The Dark Knight's makeup was really only for the Joker's face. Benjamin Button won three Oscars, an impressive feat considering Slumdog gobbled up every award in sight.
Best Costume Design
( ) Australia
( ) The Curious Case of Benjamin Button
(x) The Duchess
( ) Milk
( ) Revolutionary Road
Correct. This award always goes to the biggest and most glamorous costumes, which this year's was a no-brainer. Keira Knightley and Ralph Fiennes looked very dashing in their Victorian-era garbs.
Best Art Direction
( ) Changeling
(x) The Curious Case of Benjamin Button
( ) The Dark Knight
( ) The Duchess
( ) Revolutionary Road
Correct. Slumdog would have won here if it was nominated, but its exclusion granted mercy to Benjamin Button, allowing it to win one for its stellar scenes all over the world and all across time.
Best Visual Effects
(x) The Curious Case of Benjamin Button
( ) The Dark Knight
( ) Iron Man
Correct. While I love the special effects in all the nominees, Benjamin Button got it for aging Brad Pitt in reverse. It gets extra points for putting the fantasy element seamlessly into a period drama where it didn't belong.
Best Sound Mixing
( ) The Curious Case of Benjamin Button
( ) The Dark Knight
(x) Slumdog Millionaire
( ) WALL-E
( ) Wanted
Incorrect. A huge shocker for me, Slumdog stole the award away from WALL-E. The robot's beeps and boops were no match for the bustling business of Mumbai, apparently. Just goes to show that a strong film that everyone loves cannot be stopped in any category.
Best Sound Editing
(x) The Dark Knight
( ) Iron Man
( ) Slumdog Millionaire
( ) WALL-E
( ) Wanted
Incorrect. I spoke too soon; this is the only category in which Slumdog lost. (For Original Song, it lost to itself.) While I still think Ben Burtt deserved recognition for his work in WALL-E, it's nice to see that The Dark Knight was honored in the technical categories.
Best Animated Feature
( ) Bolt
( ) Kung Fu Panda
(x) WALL-E
Correct. This was one of the surest things this year, and a highlight of the night was Jack Black (the star of Kung Fu Panda) presenting the award. Black joked that he bet all his money on Pixar before the ceremony; lucky for him, the film sailed to victory.
Best Foreign Language Film
( ) The Baader Meinhof Complex
( ) The Class
(x) Departures
( ) Revanche
( ) Waltz with Bashir
Incorrect. This was one of the big surprises of the evening; it seemed to clearly be between The Class and Waltz. Surprise winner Departures was a huge hit in Japan, but isn't even available in the United States.
Best Documentary Feature
( ) The Betrayal (Nerakhoon)
( ) Encounters at the End of the World
( ) The Garden
(x) Man on Wire
( ) Trouble the Water
Correct. Man on Wire was clearly the favorite and easily walked to the winner's circle. Possibly the highlight of the evening came right after the acceptance speeches, in which Philippe Petit- the man on wire himself- grabbed the producer's Oscar and balanced it on his face for a few seconds. Like the stunt he pulled in the film, there was no reason for this, it was just so he could say he did it. It became the iconic image of the evening and will be remembered for a long time to come.
Best Live Action Short Film
( ) Auf der Strecke (On the Line)
( ) Manon on the Asphalt
( ) New Boy
( ) The Pig
(x) Spielzeugland (Toyland)
Correct. The Holocaust-themed film won the prize, as predicted.
Best Animated Short Film
(x) La Maison en Petits Cubes
( ) Lavatory Lovestory
( ) Oktapodi
( ) Presto
( ) This Way Up
Incorrect. The Japanese short stole the award away from Pixar's wonderful Presto. Like the foreign language film, this short is not available in the United States. Why does the Academy vote for films they likely have not seen?
Best Documentary Short
( ) The Conscience of Nhem En
( ) The Final Inch
(x) Smile Pinki
( ) The Witness: From the Balcony of Room 306
Incorrect. Smile Pinki, about a child with a cleft lip getting surgery, won the award that no one cares about.
Thanks for reading, and thank you Hugh Jackman for bringing the Oscars up from last year's low!
Jai ho!
The Oscars exploded back onto the small screen to celebrate the acheivments on the big screen of the past year. Host Hugh Jackman was a good choice as a counter to the usual comedy man, like Billy Crystal or Jon Stewart. He did make some good jokes, including a guess as to why he wasn't nominated for Australia (because he's Australian). The highlight of his performance was definitely his opening number, in which he said since the country was in a recession, they had to cut back on sets and he made them all in his garage. So, on cardboard sets, he made hilarious songs about Slumdog Millionaire, Milk, Benjamin Button, Frost/Nixon, and The Dark Knight. My personal favorite was the Frost/Nixon bit, where he randomly grabbed Anne Hathaway from the audience to play Nixon in his skit. ("Frank Langella was sitting right next to me!") The second musical sequence, in which he celebrated the success of Mamma Mia! at the box office and the supposed return of the movie musical, was entirely unnecessary but a good energy-upper.
The format of this year was so clever, and yet so obvious, it makes me wonder why no one thought of it before. The evening was structured to tell a narrative about making a movie, starting with the screenplay awards, moving on to costumes and makeup, and finishing with post-production elements like music, visual effects, and sound. The major awards were sprinkled in between, with Director, Actress, Actor, and Best Picture being the last, suspenseful awards given.
Each acting award had five previous winners of that award take the stage, including last year's winners Tilda Swinton and Marion Cotillard. Each of the presenters addressed one nominee directly and praised their performance, at the end of which one of them opened the envelope and announced the winner. This was a good idea, but the praising went on uncomfortably long and was missing one vital element-the film clip. This is why some people watch the show, just to see film clips of the nominated films they did not see. While other categories used clips as normal, the four acting awards did not, leaving a sort of emptiness once the award was handed out. The producers did not think of the audience on that one.
Well, I still enjoyed the ceremony and hope that Hugh Jackman will return to host sometime in the future. Below are all the winners, complete with my commentary and comparison to my predictions. I got 15 out of 24 categories correct. Less than what I'd hoped for, but still more than half.
Best Picture
( ) The Curious Case of Benjamin Button
( ) Frost/Nixon
( ) Milk
( ) The Reader
(x) Slumdog Millionaire
Correct. Slumdog came out the year's biggest film with ten nominations and an astonishing eight wins. This win marks the end of a long awards season that had this film in front for most of it. Over the next year, expect many romantic films set on game shows.
Best Director
( ) David Fincher, The Curious Case of Benjamin Button
( ) Ron Howard, Frost/Nixon
( ) Gus Van Sant, Milk
( ) Stephen Daldry, The Reader
(x) Danny Boyle, Slumdog Millionaire
Correct. The Best Picture and Director awards matched up this year, as they do maybe three-fourths of the time. Boyle deserves it for making the feel-good movie of the year and for it being his first nomination. Bet you didn't expect this from the guy who did 28 Days Later and Sunshine. Can't wait to see what he does next.
Best Actor
( ) Richard Jenkins, The Visitor
( ) Frank Langella, Frost/Nixon
(x) Sean Penn, Milk
( ) Brad Pitt, The Curious Case of Benjamin Button
( ) Mickey Rourke, The Wrestler
Incorrect. I guessed Rourke would take it, but Penn was my personal preference, so I'm happy. Penn gave a beatiful acceptance speech about earning equal rights for gays which again makes me wonder who the hell voted for Proposition 8 in California. Although Rourke was extraordinary, Penn deserves it for bring Milk back to life. Milk won two awards, making it one of only four films to win multiple awards.
Best Actress
( ) Anne Hathaway, Rachel Getting Married
( ) Angelina Jolie, Changeling
( ) Melissa Leo, Frozen River
( ) Meryl Streep, Doubt
(x) Kate Winslet, The Reader
Correct. As predicted, the Academy gave Winslet her first Oscar after five previous losses. I didn't have a lot of love for that movie, but Winslet was still stunning in it. She deserves it just for being one of the greatest actresses alive. (She should have won for Titanic way back when!)
Best Supporting Actor
( ) Josh Brolin, Milk
( ) Robert Downey, Jr., Tropic Thunder
( ) Philip Seymour Hoffman, Doubt
(x) Heath Ledger, The Dark Knight
( ) Michael Shannon, Revolutionary Road
Correct. The Academy simply couldn't resist awarding Ledger for one of the most terrifying screen villains in history. I hate to say it, but the fact that he died actually helped his chances. This is only the second posthumous acting award in history, and it's got to be the first acting Oscar for a comic book movie. He completely deserved it; it's only a shame he didn't live to win it himself. The Dark Knight walked away with two Oscars; not bad for a sequel to a big superhero movie franchise.
Best Supporting Actress
( ) Amy Adams, Doubt
(x) Penelope Cruz, Vicky Cristina Barcelona
( ) Viola Davis, Doubt
( ) Taraji P. Henson, The Curious Case of Benjamin Button
( ) Marisa Tomei, The Wrestler
Incorrect. The Academy has lost their minds. I'll admit, I'm biased, I haven't seen the movie, and I don't like Cruz or Woody Allen. But her comic performance just doesn't seem to have the gusto needed for an Oscar. I would have been much happier with anyone else on the list.
Best Adapted Screenplay
( ) The Curious Case of Benjamin Button
( ) Doubt
( ) Frost/Nixon
( ) The Reader
(x) Slumdog Millionaire
Correct. Slumdog won for writing to go along with Best Picture and Director. I don't know much about the book it originated from, but this film doesn't feel like it's adapted from anything. It feels completely original in every respect, even though it's essentially a formula film set in Mumbai. I'd be interested to see what this screenwriter does next.
Best Original Screenplay
( ) Frozen River
( ) Happy-Go-Lucky
( ) In Bruges
(x) Milk
( ) WALL-E
Correct. As the only Best Picture nominee of the bunch, Milk easily won this prize. Dustin Lance Black's acceptance speech was one of the highlights of the evening, as he promised all of his gay audience members that God loves them and soon they will have equal rights. A very impressive script from a first-time writer; hope he makes more like these in the future.
Best Original Score
( ) The Curious Case of Benjamin Button
( ) Defiance
( ) Milk
(x) Slumdog Millionaire
( ) WALL-E
Correct. Slumdog's soundtrack's unique sound took this award away from the more traditional scores. If you haven't heard the soundtrack, I encourage you to check it out; it's a little taste of Bollywood.
Best Original Song
( ) "Down to Earth," WALL-E
(x) "Jai Ho," Slumdog Millionaire
( ) "O Saya," Slumdog Millionaire
Incorrect. Maybe I should have seen this one coming, but typically, multiple nominations here is bad luck. "Jai Ho" is completely in Hindi, and is a heavily choreographed dance sequence played out during the end credits that doesn't really make sense with the rest of the film. Regardless, it's almost impossible not to fall in love with it. Again, check out this song on the soundtrack if you haven't.
Best Film Editing
( ) The Curious Case of Benjamin Button
( ) The Dark Knight
( ) Frost/Nixon
( ) Milk
(x) Slumdog Millionaire
Incorrect. This year's editing Oscar squared up with Best Picture as it often does. I still think The Dark Knight is more worthy, but since it didn't get nominated for the top spot, maybe its nomination is its victory. Slumdog's editing does help set the mood nicely.
Best Cinematography
( ) Changeling
( ) The Curious Case of Benjamin Button
( ) The Dark Knight
( ) The Reader
(x) Slumdog Millionaire
Correct. Although I prefered The Dark Knight to win here, I correctly guessed that Slumdog's handheld camerawork would prevail. It puts the viewer right next to the action and adds to the excitement of already exciting scenes.
Best Makeup
(x) The Curious Case of Benjamin Button
( ) The Dark Knight
( ) Hellboy II: The Golden Army
Correct. The makeup helped age Brad Pitt in reverse and Cate Blanchett and Taraji P. Henson forward. Although Hellboy's work is impressive, it was all just monsters, which is kind of easy to do, and The Dark Knight's makeup was really only for the Joker's face. Benjamin Button won three Oscars, an impressive feat considering Slumdog gobbled up every award in sight.
Best Costume Design
( ) Australia
( ) The Curious Case of Benjamin Button
(x) The Duchess
( ) Milk
( ) Revolutionary Road
Correct. This award always goes to the biggest and most glamorous costumes, which this year's was a no-brainer. Keira Knightley and Ralph Fiennes looked very dashing in their Victorian-era garbs.
Best Art Direction
( ) Changeling
(x) The Curious Case of Benjamin Button
( ) The Dark Knight
( ) The Duchess
( ) Revolutionary Road
Correct. Slumdog would have won here if it was nominated, but its exclusion granted mercy to Benjamin Button, allowing it to win one for its stellar scenes all over the world and all across time.
Best Visual Effects
(x) The Curious Case of Benjamin Button
( ) The Dark Knight
( ) Iron Man
Correct. While I love the special effects in all the nominees, Benjamin Button got it for aging Brad Pitt in reverse. It gets extra points for putting the fantasy element seamlessly into a period drama where it didn't belong.
Best Sound Mixing
( ) The Curious Case of Benjamin Button
( ) The Dark Knight
(x) Slumdog Millionaire
( ) WALL-E
( ) Wanted
Incorrect. A huge shocker for me, Slumdog stole the award away from WALL-E. The robot's beeps and boops were no match for the bustling business of Mumbai, apparently. Just goes to show that a strong film that everyone loves cannot be stopped in any category.
Best Sound Editing
(x) The Dark Knight
( ) Iron Man
( ) Slumdog Millionaire
( ) WALL-E
( ) Wanted
Incorrect. I spoke too soon; this is the only category in which Slumdog lost. (For Original Song, it lost to itself.) While I still think Ben Burtt deserved recognition for his work in WALL-E, it's nice to see that The Dark Knight was honored in the technical categories.
Best Animated Feature
( ) Bolt
( ) Kung Fu Panda
(x) WALL-E
Correct. This was one of the surest things this year, and a highlight of the night was Jack Black (the star of Kung Fu Panda) presenting the award. Black joked that he bet all his money on Pixar before the ceremony; lucky for him, the film sailed to victory.
Best Foreign Language Film
( ) The Baader Meinhof Complex
( ) The Class
(x) Departures
( ) Revanche
( ) Waltz with Bashir
Incorrect. This was one of the big surprises of the evening; it seemed to clearly be between The Class and Waltz. Surprise winner Departures was a huge hit in Japan, but isn't even available in the United States.
Best Documentary Feature
( ) The Betrayal (Nerakhoon)
( ) Encounters at the End of the World
( ) The Garden
(x) Man on Wire
( ) Trouble the Water
Correct. Man on Wire was clearly the favorite and easily walked to the winner's circle. Possibly the highlight of the evening came right after the acceptance speeches, in which Philippe Petit- the man on wire himself- grabbed the producer's Oscar and balanced it on his face for a few seconds. Like the stunt he pulled in the film, there was no reason for this, it was just so he could say he did it. It became the iconic image of the evening and will be remembered for a long time to come.
Best Live Action Short Film
( ) Auf der Strecke (On the Line)
( ) Manon on the Asphalt
( ) New Boy
( ) The Pig
(x) Spielzeugland (Toyland)
Correct. The Holocaust-themed film won the prize, as predicted.
Best Animated Short Film
(x) La Maison en Petits Cubes
( ) Lavatory Lovestory
( ) Oktapodi
( ) Presto
( ) This Way Up
Incorrect. The Japanese short stole the award away from Pixar's wonderful Presto. Like the foreign language film, this short is not available in the United States. Why does the Academy vote for films they likely have not seen?
Best Documentary Short
( ) The Conscience of Nhem En
( ) The Final Inch
(x) Smile Pinki
( ) The Witness: From the Balcony of Room 306
Incorrect. Smile Pinki, about a child with a cleft lip getting surgery, won the award that no one cares about.
Thanks for reading, and thank you Hugh Jackman for bringing the Oscars up from last year's low!
Jai ho!
Monday, February 16, 2009
Oscar Winners Predictions
The Academy Awards ceremony will be broadcast on ABC live on Sunday, February 22nd at 7:00 pm. Lots of rumors have been circulating around about the ceremony, that the awards given out will be structured to tell a story, that the presenters are being kept secret, that Hugh Jackman (he's the host, in case you don't know) will lead a large song and dance number. No one really knows what to expect from the ceremony, but from my point of view, it doesn't really matter because I think not many people will watch. The viewers may increase to see if Heath Ledger will receive a posthumous Oscar (only the second in history), but the nominees leave little else for the general public. I, of course, will be watching religiously as always, as I have seen most of the nominated films and am very interested to see who will take home the gold.
These are my winners predictions. I'll list out all the categories again, tell who I think deserves to win, and then who I think will win. My opinion is not worth very much as I am not a professional critic, but this may show that I don't always side with the Academy on their decisions. Feel free to leave comments if you agree or disagree; I'll do another post after the ceremony to see how close I was.
Best Picture
The Curious Case of Benjamin Button
Frost/Nixon
Milk
The Reader
Slumdog Millionaire
Who should win: Slumdog Millionaire
Who will win: Slumdog Millionaire
The film that started out the season as the underdog has now become the Lord of the Rings of this year, winning every major award so far. It is pretty much in the bag right now, although I sense that Milk may be making a comeback. Slumdog totally deserves the win, as it is by far the most entertaining of the five, and is exceptionally well-made to boot. Jai ho!
Best Director
David Fincher, The Curious Case of Benjamin Button
Ron Howard, Frost/Nixon
Gus Van Sant, Milk
Stephen Daldry, The Reader
Danny Boyle, Slumdog Millionaire
Who should win: Danny Boyle, Slumdog Millionaire
Who will win: Danny Boyle, Slumdog Millionaire
The Director and Best Picture wins will square up this year, as they frequently do, and it will rightfully go to the man who made the film of his career. Gus Van Sant is also a worthy choice, and could possibly score an upset win. Ron Howard and Stephen Daldry don't have much of a chance; David Fincher made a semi-epic film, but it didn't really turn out the way he envisioned it.
Best Actor
Richard Jenkins, The Visitor
Frank Langella, Frost/Nixon
Sean Penn, Milk
Brad Pitt, The Curious Case of Benjamin Button
Mickey Rourke, The Wrestler
Who should win: Sean Penn, Milk
Who will win: Mickey Rourke, The Wrestler
This race has Penn and Rourke neck-in-neck and I can see either of them winning. I loved both movies and both performances, but have to prefer Penn for bringing a real person back to life for the whole world to see. The Academy, however, will side with Rourke for his role that brought his career back on track. Plus, this is Rourke's first nomination, and Penn already won in this category six years ago. Langella was also good as Richard Nixon, but his performance seems a little too caricature for me. And I loved Jenkins in The Visitor, and he was such a long-shot to be nominated, that the nomination is a victory in itself, especially in such great company. If you ask me, Pitt didn't even deserve a nomination here; Benjamin Button is way too quiet and uninteresting a character.
Best Actress
Anne Hathaway, Rachel Getting Married
Angelina Jolie, Changeling
Melissa Leo, Frozen River
Meryl Streep, Doubt
Kate Winslet, The Reader
Who should win: Meryl Streep, Doubt
Who will win: Kate Winslet, The Reader
This is Winslet's sixth nomination. She is a goddess, and she deserves an Oscar. No, she needs an Oscar. And the Academy will deliver it to her this year. I'm just not excited about her winning for this film. It was a powerful performance, but the film left many things to be desired. Like, a point. Streep was remarkable as a nun who accuses a priest of molesting a child, and late in the film, the audience has to question the character's sanity. But, she has two Oscars and Winslet has none. Hathaway is also a worthy first-time nominee, but there hasn't been a whole lot of love for the film itself. She will get another chance to win later. Jolie and Leo have lost a lot of heat because it's been a while since their films came out.
Best Supporting Actor
Josh Brolin, Milk
Robert Downey, Jr., Tropic Thunder
Philip Seymour Hoffman, Doubt
Heath Ledger, The Dark Knight
Michael Shannon, Revolutionary Road
Who should win: Heath Ledger, The Dark Knight
Who will win: Heath Ledger, The Dark Knight
Ledger's performance as the Joker was utterly terrifying and will go down in history as one of the best screen villains of all time. Yes, all of the other nominees were good (Hoffman was extraordinary), but Ledger brought us something we've never seen before; his performance is on a whole different level than the others. An upset win is possible, at this point Brolin seems to be getting a lot of love, but that would seem like an insult to Ledger's memory.
Best Supporting Actress
Amy Adams, Doubt
Penelope Cruz, Vicky Cristina Barcelona
Viola Davis, Doubt
Taraji P. Henson, The Curious Case of Benjamin Button
Marisa Tomei, The Wrestler
Who should win: Marisa Tomei, The Wrestler
Who will win: Viola Davis, Doubt
This race is the most wide-open this year, mostly because Kate Winslet was nominated for lead Actress instead of here. My personal choice is Tomei because she brought a whole new light to the film that was mostly advertised as a vehicle for Mickey Rourke. I loved Adams in Doubt, but her performance is too restrained to warrant a win. Cruz didn't even deserve the nomination, and while Henson was one of the best things in that film, she doesn't have any particularly strong scenes. Davis has a pretty small role, but has been lauded for packing a hell of a punch in such little screen time. I think the Academy will give the Oscar to her, if it doesn't lose its mind and give it to Cruz.
Best Adapted Screenplay
The Curious Case of Benjamin Button
Doubt
Frost/Nixon
The Reader
Slumdog Millionaire
Who should win: Slumdog Millionaire
Who will win: Slumdog Millionaire
I'm torn on my personal favorite; I admired how Frost/Nixon turned a series of television interviews into an entertaining film, via a play. Doubt was also seamlessly adapted from a play, and Curious Case turned a short story into a very ambitious epic film project. But Slumdog turned a formula film into something totally unique and opened up a world most Americans have never seen. The Academy will give it the Oscar to go along with its Best Picture win, although a Curious Case upset is possible.
Best Original Screenplay
Frozen River
Happy-Go-Lucky
In Bruges
Milk
WALL-E
Who should win: WALL-E
Who will win: Milk
The screenwriter for Milk toiled for years to capture the spirit of Harvey Milk and to tell his story accurately, and he will get his well-deserved first Oscar. However, my vote is for WALL-E, the most original animated film I've ever seen, and one of Pixar's best. They should give it this Oscar since they won't nominate animated films for Best Picture. The other three nominees are standard indie films and don't have much of a chance.
Best Original Score
The Curious Case of Benjamin Button
Defiance
Milk
Slumdog Millionaire
WALL-E
Who should win: Slumdog Millionaire
Who will win: Slumdog Millionaire
Slumdog's score is incredible, and unlike anything else America has heard before. It brings a taste of Bollywood into Hollywood and will be rewarded. While WALL-E's score is exceptional for an animated film and Curious Case's score is beautiful, Slumdog has the unique factor on its side.
Best Original Song
"Down to Earth," WALL-E
"Jai Ho," Slumdog Millionaire
"O Saya," Slumdog Millionaire
Who should win: "O Saya," Slumdog Millionaire
Who will win: "Down to Earth," WALL-E
I remember I had a huge smile on my face when I saw Slumdog and the song "O Saya" started, opening up a chase sequence at the beginning of the film. It definitely gets the unique vote: it combines traditional Indian music and percussion with M.I.A.'s fast and frenzied raps. "Jai Ho," the closing credits song that also served as a huge dance number, has a better shot as it's completely in Hindi and more traditional, but multiple nominations in this category usually backfire, and I think the very worthy "Down to Earth" will give Peter Gabriel an Oscar for his closing-credits song.
Best Film Editing
The Curious Case of Benjamin Button
The Dark Knight
Frost/Nixon
Milk
Slumdog Millionaire
Who should win: The Dark Knight
Who will win: The Dark Knight
Curious Case really needed a trim and had a lame framing device that wasn't needed. Frost/Nixon's editing was good, but doesn't really bring anything special to the table. Milk splendidly blended its drama with real news and video footage from the time. Slumdog was filled with flashbacks that didn't hinder the story, but progressed it and matched the energy perfectly. It could win to match with Best Picture, but I think the award will go to the very worthy Dark Knight, as it had to swtich between several different locations and brought the suspense level up to almost unbearable heights. It will win here as penance for not being nominated for Best Picture.
Best Cinematography
Changeling
The Curious Case of Benjamin Button
The Dark Knight
The Reader
Slumdog Millionaire
Who should win: The Dark Knight
Who will win: Slumdog Millionaire
The Dark Knight deserves to win for its sweeping city shots and action sequences filmed in IMAX. But Slumdog will add on to its growing list of wins for its energetic camerawork that places the viewer on the streets of Mumbai.
Best Makeup
The Curious Case of Benjamin Button
The Dark Knight
Hellboy II: The Golden Army
Who should win: tie between The Curious Case of Benjamin Button and The Dark Knight
Who will win: The Curious Case of Benjamin Button
I'm torn between the first two nominees. Curious Case skillfully aged Brad Pitt in reverse, as well as aged all its other characters the correct way. The Dark Knight made Heath Ledger unrecognizable and was a vital part of his performance. The Academy will side with the former because it is much more glamorous. Sorry, Hellboy, but the fact that this is the film's only nomination pretty much sends its chances straight down to...you know.
Best Costume Design
Australia
The Curious Case of Benjamin Button
The Duchess
Milk
Revolutionary Road
Who should win: Milk
Who will win: The Duchess
All of the costumes are good, and add to the story and the believability. My vote is for Milk because the costumes make the viewer believe it's the 70's but don't draw attention to themselves. The Academy likes period pieces though, so Victorian England-set Duchess will win.
Best Art Direction
Changeling
The Curious Case of Benjamin Button
The Dark Knight
The Duchess
Revolutionary Road
Who should win: Changeling
Who will win: The Curious Case of Benjamin Button
Clint Eastwood wouldn't have been able to make Changeling at all if his movie didn't look exactly like Los Angeles in the 20's, and it was very convincing as such. But, as the sole Best Picture nominee in the bunch, Curious Case will pick up the win for its many different locales across decades.
Best Visual Effects
The Curious Case of Benjamin Button
The Dark Knight
Iron Man
Who should win: three-way tie
Who will win: The Curious Case of Benjamin Button
I am truly torn here and cannot decide on a favorite. The Dark Knight is the least showy of the bunch, as Christopher Nolan prides himself on not using a lot of visual effects, but Two-Face looked very real, as did the helicopter crash and everything else that was a visual effect but we didn't even realize it. In Iron Man, I couldn't tell which shots of the suit were real and which were computer-generated. Very believable and cool, to boot. Curious Case, along with the makeup, helped age Benjamin Button in reverse and made it look real. The Academy will be unlike me and decide on the last, because it's a non-blockbuster.
Best Sound Mixing
The Curious Case of Benjamin Button
The Dark Knight
Slumdog Millionaire
WALL-E
Wanted
Who should win: WALL-E
Who will win: WALL-E
I read that The Dark Knight would actually win both sound awards. While that would be awesome and proof that the Academy didn't totally ignore it, I disagree. Ben Burtt had to create all of the sounds for WALL-E from scratch, ending up with practically half the finished product being due to just his work.
Best Sound Editing
The Dark Knight
Iron Man
Slumdog Millionaire
WALL-E
Wanted
Who should win: WALL-E
Who will win: WALL-E
These two awards usually match up. If WALL-E wins Sound Mixing, it'll win here as well. Although the same prediction goes for The Dark Knight.
Best Animated Feature
Bolt
Kung Fu Panda
WALL-E
Who should win: WALL-E
Who will win: WALL-E
Bolt and Kung Fu Panda are cool films, but don't even come close to Pixar and its latest masterpiece. If WALL-E doesn't win, the LAPD will launch a full-scale investigation into the Academy voting system.
Best Foreign Language Film
The Baader Meinhof Complex
The Class
Departures
Revanche
Waltz with Bashir
Who should win: ?
Who will win: Waltz with Bashir
I haven't seen any of these films, so I don't have an opinion. Waltz seems to be the favorite in America, and will take it home if The Class doesn't pull an upset.
Best Documentary Feature
The Betrayal (Nerakhoon)
Encounters at the End of the World
The Garden
Man on Wire
Trouble the Water
Who should win: ?
Who will win: Man on Wire
I've only seen Man on Wire, so my opinion would be biased, but I still think that film will win as it is by far the most famous and the most liked, if not the most relevant. (If the Academy does choose relevance, then Trouble the Water will win, but that is unlikely.)
Best Live Action Short Film
Auf der Strecke (On the Line)
Manon on the Asphalt
New Boy
The Pig
Spielzeugland (Toyland)
Who should win: ?
Who will win: Spielzeugland (Toyland)
Sorry, I still don't know anything about these nominees, but I read that Toyland is about the Holocaust.
Best Animated Short Film
La Maison en Petits Cubes
Lavatory Lovestory
Oktapodi
Presto
This Way Up
Who should win: Presto
Who will win: Presto
I've only seen Presto, so I'll admit that my opinion is biased. But it's hard to imagine a more worthy candidate for the Oscar than the manic Pixar film, a companion to WALL-E. None of the other films were mass-released in theaters, and it is best known with voters, so they will award it. It's been a while since Pixar has won here.
Best Documentary Short
The Conscience of Nhem En
The Final Inch
Smile Pinki
The Witness: From the Balcony of Room 306
Who should win: ?
Who will win: The Witness: From the Balcony of Room 306
Sorry, haven't seen any of these either. I read The Witness is about a man who witnesses Martin Luther King, Jr. getting assassinated from his hotel room; sounds very interesting. Why are there always only four nominees?
Also, Jerry Lewis will receive an honorary Oscar for his legendary comedy roles and his help with raising money for dementia. Expect a humorous acceptance speech.
That's everything. Be sure to watch the show this Sunday night!
These are my winners predictions. I'll list out all the categories again, tell who I think deserves to win, and then who I think will win. My opinion is not worth very much as I am not a professional critic, but this may show that I don't always side with the Academy on their decisions. Feel free to leave comments if you agree or disagree; I'll do another post after the ceremony to see how close I was.
Best Picture
The Curious Case of Benjamin Button
Frost/Nixon
Milk
The Reader
Slumdog Millionaire
Who should win: Slumdog Millionaire
Who will win: Slumdog Millionaire
The film that started out the season as the underdog has now become the Lord of the Rings of this year, winning every major award so far. It is pretty much in the bag right now, although I sense that Milk may be making a comeback. Slumdog totally deserves the win, as it is by far the most entertaining of the five, and is exceptionally well-made to boot. Jai ho!
Best Director
David Fincher, The Curious Case of Benjamin Button
Ron Howard, Frost/Nixon
Gus Van Sant, Milk
Stephen Daldry, The Reader
Danny Boyle, Slumdog Millionaire
Who should win: Danny Boyle, Slumdog Millionaire
Who will win: Danny Boyle, Slumdog Millionaire
The Director and Best Picture wins will square up this year, as they frequently do, and it will rightfully go to the man who made the film of his career. Gus Van Sant is also a worthy choice, and could possibly score an upset win. Ron Howard and Stephen Daldry don't have much of a chance; David Fincher made a semi-epic film, but it didn't really turn out the way he envisioned it.
Best Actor
Richard Jenkins, The Visitor
Frank Langella, Frost/Nixon
Sean Penn, Milk
Brad Pitt, The Curious Case of Benjamin Button
Mickey Rourke, The Wrestler
Who should win: Sean Penn, Milk
Who will win: Mickey Rourke, The Wrestler
This race has Penn and Rourke neck-in-neck and I can see either of them winning. I loved both movies and both performances, but have to prefer Penn for bringing a real person back to life for the whole world to see. The Academy, however, will side with Rourke for his role that brought his career back on track. Plus, this is Rourke's first nomination, and Penn already won in this category six years ago. Langella was also good as Richard Nixon, but his performance seems a little too caricature for me. And I loved Jenkins in The Visitor, and he was such a long-shot to be nominated, that the nomination is a victory in itself, especially in such great company. If you ask me, Pitt didn't even deserve a nomination here; Benjamin Button is way too quiet and uninteresting a character.
Best Actress
Anne Hathaway, Rachel Getting Married
Angelina Jolie, Changeling
Melissa Leo, Frozen River
Meryl Streep, Doubt
Kate Winslet, The Reader
Who should win: Meryl Streep, Doubt
Who will win: Kate Winslet, The Reader
This is Winslet's sixth nomination. She is a goddess, and she deserves an Oscar. No, she needs an Oscar. And the Academy will deliver it to her this year. I'm just not excited about her winning for this film. It was a powerful performance, but the film left many things to be desired. Like, a point. Streep was remarkable as a nun who accuses a priest of molesting a child, and late in the film, the audience has to question the character's sanity. But, she has two Oscars and Winslet has none. Hathaway is also a worthy first-time nominee, but there hasn't been a whole lot of love for the film itself. She will get another chance to win later. Jolie and Leo have lost a lot of heat because it's been a while since their films came out.
Best Supporting Actor
Josh Brolin, Milk
Robert Downey, Jr., Tropic Thunder
Philip Seymour Hoffman, Doubt
Heath Ledger, The Dark Knight
Michael Shannon, Revolutionary Road
Who should win: Heath Ledger, The Dark Knight
Who will win: Heath Ledger, The Dark Knight
Ledger's performance as the Joker was utterly terrifying and will go down in history as one of the best screen villains of all time. Yes, all of the other nominees were good (Hoffman was extraordinary), but Ledger brought us something we've never seen before; his performance is on a whole different level than the others. An upset win is possible, at this point Brolin seems to be getting a lot of love, but that would seem like an insult to Ledger's memory.
Best Supporting Actress
Amy Adams, Doubt
Penelope Cruz, Vicky Cristina Barcelona
Viola Davis, Doubt
Taraji P. Henson, The Curious Case of Benjamin Button
Marisa Tomei, The Wrestler
Who should win: Marisa Tomei, The Wrestler
Who will win: Viola Davis, Doubt
This race is the most wide-open this year, mostly because Kate Winslet was nominated for lead Actress instead of here. My personal choice is Tomei because she brought a whole new light to the film that was mostly advertised as a vehicle for Mickey Rourke. I loved Adams in Doubt, but her performance is too restrained to warrant a win. Cruz didn't even deserve the nomination, and while Henson was one of the best things in that film, she doesn't have any particularly strong scenes. Davis has a pretty small role, but has been lauded for packing a hell of a punch in such little screen time. I think the Academy will give the Oscar to her, if it doesn't lose its mind and give it to Cruz.
Best Adapted Screenplay
The Curious Case of Benjamin Button
Doubt
Frost/Nixon
The Reader
Slumdog Millionaire
Who should win: Slumdog Millionaire
Who will win: Slumdog Millionaire
I'm torn on my personal favorite; I admired how Frost/Nixon turned a series of television interviews into an entertaining film, via a play. Doubt was also seamlessly adapted from a play, and Curious Case turned a short story into a very ambitious epic film project. But Slumdog turned a formula film into something totally unique and opened up a world most Americans have never seen. The Academy will give it the Oscar to go along with its Best Picture win, although a Curious Case upset is possible.
Best Original Screenplay
Frozen River
Happy-Go-Lucky
In Bruges
Milk
WALL-E
Who should win: WALL-E
Who will win: Milk
The screenwriter for Milk toiled for years to capture the spirit of Harvey Milk and to tell his story accurately, and he will get his well-deserved first Oscar. However, my vote is for WALL-E, the most original animated film I've ever seen, and one of Pixar's best. They should give it this Oscar since they won't nominate animated films for Best Picture. The other three nominees are standard indie films and don't have much of a chance.
Best Original Score
The Curious Case of Benjamin Button
Defiance
Milk
Slumdog Millionaire
WALL-E
Who should win: Slumdog Millionaire
Who will win: Slumdog Millionaire
Slumdog's score is incredible, and unlike anything else America has heard before. It brings a taste of Bollywood into Hollywood and will be rewarded. While WALL-E's score is exceptional for an animated film and Curious Case's score is beautiful, Slumdog has the unique factor on its side.
Best Original Song
"Down to Earth," WALL-E
"Jai Ho," Slumdog Millionaire
"O Saya," Slumdog Millionaire
Who should win: "O Saya," Slumdog Millionaire
Who will win: "Down to Earth," WALL-E
I remember I had a huge smile on my face when I saw Slumdog and the song "O Saya" started, opening up a chase sequence at the beginning of the film. It definitely gets the unique vote: it combines traditional Indian music and percussion with M.I.A.'s fast and frenzied raps. "Jai Ho," the closing credits song that also served as a huge dance number, has a better shot as it's completely in Hindi and more traditional, but multiple nominations in this category usually backfire, and I think the very worthy "Down to Earth" will give Peter Gabriel an Oscar for his closing-credits song.
Best Film Editing
The Curious Case of Benjamin Button
The Dark Knight
Frost/Nixon
Milk
Slumdog Millionaire
Who should win: The Dark Knight
Who will win: The Dark Knight
Curious Case really needed a trim and had a lame framing device that wasn't needed. Frost/Nixon's editing was good, but doesn't really bring anything special to the table. Milk splendidly blended its drama with real news and video footage from the time. Slumdog was filled with flashbacks that didn't hinder the story, but progressed it and matched the energy perfectly. It could win to match with Best Picture, but I think the award will go to the very worthy Dark Knight, as it had to swtich between several different locations and brought the suspense level up to almost unbearable heights. It will win here as penance for not being nominated for Best Picture.
Best Cinematography
Changeling
The Curious Case of Benjamin Button
The Dark Knight
The Reader
Slumdog Millionaire
Who should win: The Dark Knight
Who will win: Slumdog Millionaire
The Dark Knight deserves to win for its sweeping city shots and action sequences filmed in IMAX. But Slumdog will add on to its growing list of wins for its energetic camerawork that places the viewer on the streets of Mumbai.
Best Makeup
The Curious Case of Benjamin Button
The Dark Knight
Hellboy II: The Golden Army
Who should win: tie between The Curious Case of Benjamin Button and The Dark Knight
Who will win: The Curious Case of Benjamin Button
I'm torn between the first two nominees. Curious Case skillfully aged Brad Pitt in reverse, as well as aged all its other characters the correct way. The Dark Knight made Heath Ledger unrecognizable and was a vital part of his performance. The Academy will side with the former because it is much more glamorous. Sorry, Hellboy, but the fact that this is the film's only nomination pretty much sends its chances straight down to...you know.
Best Costume Design
Australia
The Curious Case of Benjamin Button
The Duchess
Milk
Revolutionary Road
Who should win: Milk
Who will win: The Duchess
All of the costumes are good, and add to the story and the believability. My vote is for Milk because the costumes make the viewer believe it's the 70's but don't draw attention to themselves. The Academy likes period pieces though, so Victorian England-set Duchess will win.
Best Art Direction
Changeling
The Curious Case of Benjamin Button
The Dark Knight
The Duchess
Revolutionary Road
Who should win: Changeling
Who will win: The Curious Case of Benjamin Button
Clint Eastwood wouldn't have been able to make Changeling at all if his movie didn't look exactly like Los Angeles in the 20's, and it was very convincing as such. But, as the sole Best Picture nominee in the bunch, Curious Case will pick up the win for its many different locales across decades.
Best Visual Effects
The Curious Case of Benjamin Button
The Dark Knight
Iron Man
Who should win: three-way tie
Who will win: The Curious Case of Benjamin Button
I am truly torn here and cannot decide on a favorite. The Dark Knight is the least showy of the bunch, as Christopher Nolan prides himself on not using a lot of visual effects, but Two-Face looked very real, as did the helicopter crash and everything else that was a visual effect but we didn't even realize it. In Iron Man, I couldn't tell which shots of the suit were real and which were computer-generated. Very believable and cool, to boot. Curious Case, along with the makeup, helped age Benjamin Button in reverse and made it look real. The Academy will be unlike me and decide on the last, because it's a non-blockbuster.
Best Sound Mixing
The Curious Case of Benjamin Button
The Dark Knight
Slumdog Millionaire
WALL-E
Wanted
Who should win: WALL-E
Who will win: WALL-E
I read that The Dark Knight would actually win both sound awards. While that would be awesome and proof that the Academy didn't totally ignore it, I disagree. Ben Burtt had to create all of the sounds for WALL-E from scratch, ending up with practically half the finished product being due to just his work.
Best Sound Editing
The Dark Knight
Iron Man
Slumdog Millionaire
WALL-E
Wanted
Who should win: WALL-E
Who will win: WALL-E
These two awards usually match up. If WALL-E wins Sound Mixing, it'll win here as well. Although the same prediction goes for The Dark Knight.
Best Animated Feature
Bolt
Kung Fu Panda
WALL-E
Who should win: WALL-E
Who will win: WALL-E
Bolt and Kung Fu Panda are cool films, but don't even come close to Pixar and its latest masterpiece. If WALL-E doesn't win, the LAPD will launch a full-scale investigation into the Academy voting system.
Best Foreign Language Film
The Baader Meinhof Complex
The Class
Departures
Revanche
Waltz with Bashir
Who should win: ?
Who will win: Waltz with Bashir
I haven't seen any of these films, so I don't have an opinion. Waltz seems to be the favorite in America, and will take it home if The Class doesn't pull an upset.
Best Documentary Feature
The Betrayal (Nerakhoon)
Encounters at the End of the World
The Garden
Man on Wire
Trouble the Water
Who should win: ?
Who will win: Man on Wire
I've only seen Man on Wire, so my opinion would be biased, but I still think that film will win as it is by far the most famous and the most liked, if not the most relevant. (If the Academy does choose relevance, then Trouble the Water will win, but that is unlikely.)
Best Live Action Short Film
Auf der Strecke (On the Line)
Manon on the Asphalt
New Boy
The Pig
Spielzeugland (Toyland)
Who should win: ?
Who will win: Spielzeugland (Toyland)
Sorry, I still don't know anything about these nominees, but I read that Toyland is about the Holocaust.
Best Animated Short Film
La Maison en Petits Cubes
Lavatory Lovestory
Oktapodi
Presto
This Way Up
Who should win: Presto
Who will win: Presto
I've only seen Presto, so I'll admit that my opinion is biased. But it's hard to imagine a more worthy candidate for the Oscar than the manic Pixar film, a companion to WALL-E. None of the other films were mass-released in theaters, and it is best known with voters, so they will award it. It's been a while since Pixar has won here.
Best Documentary Short
The Conscience of Nhem En
The Final Inch
Smile Pinki
The Witness: From the Balcony of Room 306
Who should win: ?
Who will win: The Witness: From the Balcony of Room 306
Sorry, haven't seen any of these either. I read The Witness is about a man who witnesses Martin Luther King, Jr. getting assassinated from his hotel room; sounds very interesting. Why are there always only four nominees?
Also, Jerry Lewis will receive an honorary Oscar for his legendary comedy roles and his help with raising money for dementia. Expect a humorous acceptance speech.
That's everything. Be sure to watch the show this Sunday night!
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