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February 2007
Home (Re)Viewing: Will Ferrell beats Russel Crowe!
Like the Oscars, this week’s video releases are a mix of the good, the bad and the ugly.
(Format change this week: Click on the titles for the Amazon link that will give you more info and tell you what’s on the DVD and other info.)
A Good Year: First, the bad: Russell Crowe stars as a businessman who has misplaced his heart until he inherits the French vineyard that was a key part of his childhood. Ridley Scott, is a great director - but not of comedy. The movie comes across like a male version of Under the Tuscan Sun, but its forced whimsy tangles the movie in cutesiness that just doesn’t work. GRADE: C
Stranger Than Fiction: This is the good, and that very pleasantly surprised me. Perhaps the greatest compliment I pay the movie is that I didn’t want Will Ferrell to die. He plays a lost soul who unwittingly finds himself a character destined to meet his demise in a novel. What makes it even more frustrating is that he can hear the author (Emma Thompson) narrating his life. The movie doesn’t always explain its rules clearly, and it’s a little too cerebral at times, but clever direction by Marc Forster (Finding Neverland) and winning performances (especially from the adorable Maggie Gyllenhaal) make me hope it finds the audience it deserves. GRADE: A-
Also Out Today
The Return: Sara Michelle Gellar wisely stepped out of the lead of the Grudge franchise but unwisely still makes lite horror movies no one cares about. That’s ugly.
Tenacious D in the Pick of Destiny: From what I’ve heard, this is only a pick for fans.
Permalink | | Categories: On Video/DVD
So what did you think of the Oscars?
Here’s my review:
THE GOOD
The brilliantly funny Errol Morris opening, one of the best ever.
Marty Scorsese finally, FINALLY winning
The song performances.
Marty winning.
The costume design presentation with the “Devil Wears Prada” cast and Streep’s utterly priceless reaction shot.
Forest Whitaker’s heartfelt speech.
Marty winning.
The Best Director shtick with Coppola, Lucas and Spielberg.
Marty winning.
The presentation of the Best Pictures, with the nominees talking about the films over the clips. MUCH better than simply playing trailers, which they’ve done the past few years.
“The Departed,” my favorite film of the nominees winning, even though I was wrong about it.
And Marty winning too.
Ellen was quite fun as a host. It wasn’t her best gig - that’s still the post 9/11 Emmys - but she was better than Jon Stewart last year. I thought he was out of his element.
THE BAD
Playing clips of the nominated performances for all of 10-15 seconds. It gave us hardly any feel of why they were nominated.
The constant cutting off of the speakers, making the whole ceremony feel rushed, and yet the show still ended 45 minutes late.
“Children of Men” not winning cinematography.
My final predictions score: 12 out of 20 for 60 percent, which is below average for me. I did VERY well above the line, missing only the big one - Best Picture. Unfortunately, I choked on the techs. But I don’t feel so bad since Marty and “The Departed” won. Was a nice little gift to my spirits after my personal loss.
THE UGLY
Those MONOTONOUS montages, an error repeated from last year’s show. Most of them were totally unnecessary, and a few even weren’t very good. The producers always wonder why the show runs long, yet they never learn from their mistakes. Laura Ziskin, the producer, could have done better - but I still think the frequent former producer Gil Cates still should stay at home.
And finally …
THE GOOD, THE BAD, AND THE UGLY
One of the best scores written by honorary Oscar winner Ennio Morricone.
Overall, I enjoyed the night, but much more for who won than for the actual content, which left a great deal to be desired.
What did you think of the Oscar show?
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Best Picture
And now, the toughest pic of them all….
And the Oscar goes to…
My personal pic of the bunch, and I am HAPPY to be wrong about that! This makes for a nice finish for the show in spite of itself, now that it’s run, oh …. 45 minutes long.
My kingdom for an editor! And a montage killer!
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Best Director
Marty, Marty, Marty, oh, please, please, please, please, please, please, please ….
As Kermit the Frog used to say: YAAAAAAAYYYYYY!
Wonderful presentation all around, from Lucas’ shtick to Marty’s speech. That just brightened my mood A MILLION percent!
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Best Actor
And the expected actor wins, and deservingly so, too.
People criticize Whitaker for being so flustered in his speeches, but that’s very unjust. I much prefer his genuine emotion to a rushed laundry list of names.
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Best Actress
Ladies and gentlemen, that stillness you feel is the sound of a million chins NOT hitting the floor at Mirren winning. As big a lock as there ever was.
Very classy speech by Helen, as was expected too.
Some other year, Kate.
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In Memoriam
And now for the ONLY montage this show should really have: the farewell reel.
Most missed by me: Betty Comden, June Allyson, Don Knotts, Darren McGavin, Sven Nykvist, James Doohan, Peter Boyle, Jack Warden, Jack Palance, Henry Bumstead, and Robert Altman, who, as predicted, gets the most applause.
And of course, my grandma.
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Best Editing
The Bad News: My ballot is REALLY looking bad with Thelma Schoonamker winning this award for “The Departed.”
The Good News: She is very deserving of this award, as she is the best editor in the business. And it bodes well for “The Departed” winning Best Pic, which would not displease me at all.
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Montage, montage, montage, montage, montage
Now they’ve caught Michael Mann in this web. sigh
Although I never thought I’d see Ricky Bobby and Michael Mann in the same context. I’m not sure whether to laugh or cry.
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Best Song
VERY nicely done presentation for the “Dreamgirls” songs. Tell me again why the movie didn’t score a Best Pic nom?
And wow, it doesn’t win this category! I thought Ethridge might upset, but that was only a might. Maybe a “Dreamgirls” tune didn’t win because people weren’t as in love with the film as we thought they might be?
My total is starting to look kinda shaky tonight ….
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WHAT about J.Lo?
“Jennifer Lopez: Excellent reason for high-definition television.”
Huh????? Why? So we can see just how big her hindquarters are?
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Original Screenplay
Good Day Sunshine. Michael Arndt gives a nice heartfelt speech, but has to rush through it.
And now Arndt will get back to work on “Toy Story 3: Where’s Bo Peep?”
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Best Score
And the Oscar goes to Babel’s composer, who won last year for Brokeback! It was another great score, although I would have preferred Pan’s here.
Again, where’s Jack’s hair? Anyone know?
(Looks on IMDB)
Ah, it’s because he’s starring in “The Bucket List,” in which he plays a cancer patient.
They’ll have to play the rest of the show at the speed of the president’s speech to finish on time.
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Maestro Morricone
Now here’s a great choice for an honorary award if there ever was one. Morricone’s place in history would be secure if all he ever composed were the DOODLE-DOODLE-OO (Wah wah wah) riff.
I was grateful that Celine didn’t oversing too badly, but again, not necessary. The show’s running too long as it is. It’s dragging after a promising start.
Makes sense that Clint is his translator, since Clint just directed a film in Japanese, which he does not speak.
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Best Documentary
And so right-wing bloggers and talk show hosts will be adding to the global warming with all the hot air they’ll exhale over this film winning.
Nice speech by Gore who has a little experience in the matter.
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Documentary Short
I have nothing to say about this category, since I haven’t seen any of the nominees, but WOW, Eva Green sure looks nice!
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Supporting Actress
WHY are the clips so short? Next to the montages, this is the worst mistake the show has made.
And J-Hud takes it as predicted, as anyone who has seen her in the film should have known.
She should have started singing when the orchestra played her off!
They have time for montages, but not for a decent speech? This show is starting to make me mad.
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Foreign Film
ANOTHER montage? What are they trying to do, put Nyquil out of business?
Montage: The Nightime Boring Stifling, Snoring, Snoozing, Sleepyhead, Fatigue So You Can Sleep Medicine!
WAIT a minute: Pan’s Labyrinth wins the cinematography award but LOSES foreign film? Talk about a foreign concept! Oy! Now I’M peeved!
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Visual Effects
Nice little bit of self-depracating humor from former drug addict Downey ….
Davy Jones, come and get your booty ….
Superman Returns is a very deserving nominee, but it won’t win …
And indeed it doesn’t. Pirates takes it. Now if only those movies were as good as their effects (Semi-monthly dig at POTC 2.)
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Cinematography
The crowd is already cheering for Lubezki and Children of Men - this must be his ….
But there’s a cheer for Pan’s too….
Oooo … and Pan’s takes it! Most people thought this was Children’s to lose.
Wow. Pan’s is a beautiful film, and hats off to the other Guilliermo, but the photography in Children’s was exciting in such bold, surprising ways. It was the first photography in awhile that could truly be called revolutionary. It should have won.
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The Jean Hersholt Award
And here comes Tom Cruise to award his old boss, former Paramount head Sherry Lansing. He probably wishes Lansing were still around, because when she was, most people thought Tom was sane.
Yes, Sherry Lansing’s hubby is the director of “The Exorcist.”
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Best Costumes
Helloooooooo Anne and Emily! Funny recreation of their Prada characters.
LMAO! BRILLIANT reaction by Streep! Ladies and gentlemen, this is why she is one of our greats.
And unfortunately, they don’t get to give the award to their own film. Vet Milena Canonero wins for her work on Marie Antoinette, which are probably the flashiest of the bunch.
And yes, those costumes did look good enough to eat, although personally I had my eyes on that lead actress who was wearing them.
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Writing montage
As far as montages go, this one isn’t bad, but is it REALLY necessary? And hey, love hearing the Mission: Impossible music, because we ALL know the MI films are ALL about the writing.
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Adapted screenplay
Clever way to introduce the screenplays, acually quoting the script.
Wow, they found a clip from “The Departed” they didn’t have to bleep!
Monahan very deservingly wins, as expected.
And I’ve been meaning to say, WOW, is that Jack? Where’s the hair? Is he trying to a Danny DeVito impersonation?
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Best Animated Feature
And here’s Cameron? What, you mean they didn’t invite her co-star from “Shrek the Third” Justin Timberlake???
Hmmm, too bad they didn’t have the house from Monster House in the reax shot.
And there’s another one I missed. I thought “Cars” would take it. “Cars” is better than “Happy Feet,” but “Monster House” is better than either one.
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The Songs, the Veep
Nice presentation of the first two songs so far. Ethridge could pull an upset, but I still think “Listen” from Dreamgirls will win.
I like the Cars song, even though it is kind of a rewrite of “When She Loved Me” from Toy Story 2, which SHOULD have won back in 2000.
Cute fake-out by Gore. But did anyone think he was REALLY going to announce anything other than the environmental efforts?
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Supporting Actor: WHAT lock for Murphy?
Yay, I called the upset for Alan Arkin! Told you all Eddie wasn’t a lock!
Don’t fret Eddie, just spend the rest of your career proving that Dreamgirls wasn’t a fluke. Oh, wait, you already made “Norbit.” Whatever.
They did a LOUSY job with the clips in that category! WAY too short!
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Best Sound
If a musical is in this category, it usually wins ….
And does so again this year for Dreamgirls.
Too bad about Kevin O’Connell, the sound designer for Apocalypto. This is his 19th loss. I say give the poor guy an Honorary Award.
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Sound Editing Awards
This sound effects choir group is BIZARRE … but in that good kinda way. It’s certainly a better way to use a montage than the lame stuff they came up0 with last year.
Just to clarify, the Best SOUND award is for the overall mixing and sound design.
Sound EDITING has more to do with the effects.
And I have my fist miss of the evening … I though Pirates would get this, but that just proves there’s another rule that holds true in sound: Never rule out the war movie.
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Animated Short
Aww, aren’t Abby and Jaden cuuuute.
First semi-suprise of the evening - neither of the Disney/Pixar related shorts won.
Nice speech by the short film winner, giving credit where it’s due.
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Best Makeup
This ought to be Pan’s Labyrinth easy ….
And it IS! The creepy guy with the eyes in the hands ALONE makes this worthy.
The one flaw of the show, rushing them through the speeches again and not letting everyone talk. Shame.
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Well, they WERE off to a good start… and it’s rescued!
Now they had to go and ruin it by bringing in Will Ferrell….
Oh, wait, there’s Jack Black! Nice idea to bring him back and lend some qualitry to this number. Good idea to reprise their duet from a couple years ago. It’s one of two or three funny thiing Ferrell has actually done.
How bout that? A number that didn’t have anything to do with the nominees, and it worked!
Hey Gil Cates! Stay at home forever will ya?
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And to the break
Ah, Don LeFontaine, he of the “In a World” voice-over of 3,458,792 trailers. I liked that gimmick when they used it a few years ago, nice to have it back.
Show has started off well so far. This is what happens when Gil Cates stays at home, where he should remain from now on.
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Art Direction
Pan’s Labyrinth VERY deservingly wins the Art Direction award. Best film I’ve seen so far this year.
Unsual move not to start off with the Supporting awards. They must be trying to keep peopel from tuning out later.
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Just keep talking, just keep talking
OK, Ellen gets off a killer line with Gore vs. Hudson! She’s doing well making the crowd very jittery.
If there weren’t blacks, jews and gays, there would be no Oscars! I don’t care what Ellen says, that’s the best line of the night.
Say, a gospel choir! Jennifer Hudson must have asked them to come from her days on “American Idol.”
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Gabbing with Errol
Kicking off a show with Errol Morris interviews! If the show keeps being this intelligent and enjoyable, I don’t know what I’ll do.
I have to give Eddie credit. He DOES have the funniest stoic expression.
And that, ladies and gentlemen, is why Errol Morris may be the best interviewer working today.
More intelligence! Egads!
Ho-LEE! Interviewing “The Three Amigos,” Curaon, Inarritu and Del Toro. Are we SURE this is the Oscar pre-show?
Ah, my favorite Kate, looking terrific as usual. The interviewer is asking her about her sex scene as if its unusual. For better or worse, it’s not.
If the Oscars are the “mother of all awards shows,” does that make the People’s Choice Awards the red-headed stepchild?
Wow, the pre-show is over, and I don’t have a headache THIS big. That’s a first. Course, Billy Bush not showing up helps.
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The Pursuit of McAdams
Fun fact: The Pursuit of Happyness is the highest-grossing film among all the above-the-line nominees.
Cate Blanchett looking VERY nice, holding up well against gushy questions.
Say, I didn’t know Ryan Gosling was a Mouseketeer. Didn’t his girl Rachel McAdams come tonight? Maybe she was afraid her brain cells would evaporate on the carpet.
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Gals on a carpet
So THAT’s what Siedah Garret does these days? Anyone remember her from “I Just Can’t Stop Loving You?” No? Well, that’s not her fault.
Nice to see the young Prada ladies. Emily, you deserved a nomination. Anne , you WILL get one someday.
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And we’re off!
Well, I was going to start off saying I would prefer seeing Cars to penguins … at least they threw me a bone.
Are we sure this is the right show? The questions are kinda intelligent so far. I just hope Billy Bush doesn’t show up.
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The Oscars: A dedication
Well, it’s Oscar time again! Get ready for three-plus hours full of folksy Midwestern twang, but hopefully as little tedium as possible.
Before we get rolling, however, I would like to dedicate tonight in loving memory of my grandmother, Joan Robinette, who passed away Saturday.
She always used to watch the Oscars with me years ago, but even more importantly, she was one of the first people who showed me classic movies, telling me when “The Wizard of Oz” or “Gone with the Wind” were on TV. If only more people had grandmothers like her - and listened to them.
I know she’s watching now. “Casablanca” was one of her favorites, so here’s looking at you, grandma. Love you.
On with the show! Make sure you hit the refresh button to keep up with the posts.
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All the Oscar predictions are here
Cut! That’s a wrap on Oscar predictions!
Well, wait not quite yet. I may have tackled all the major categories, but I still have the others to tackle - because I know you‘re all chomping at the bit to find out who’s winning sound effects editing! (“Pirates of the Caribbean: Dead Man’s Chest” by the way).
Still, as an avid Oscar watcher, I am obliged to cover all the bases and help you fill out your office pool ballots. So here’s a recap of what I’ve predicted so far, plus my takes on the smaller races.
To conserve space, I’ll leave the nominees list here, and get straight to the will/should wins. Full analyses of the major categories can be found in the links below, in case you missed them.
BEST PICTURE
Will win: “Little Miss Sunshine”
Should win: “The Departed”
BEST ACTOR
Will/should win: Forest Whitaker, “The Last King of Scotland”
BEST ACTRESS
Will win: Helen Mirren, “The Queen”
Should win: Kate Winslet, “Little Children”
BEST SUPPORTING ACTOR
Will win: Alan Arkin, “Little Miss Sunshine”
Should win: Mark Wahlberg, “The Departed”
BEST SUPPORTING ACTRESS
Will/Should win: Jennifer Hudson, “Dreamgirls”
BEST DIRECTOR
Should win: Paul Grengrass (“United 93”) if I vote with my head, Martin Scorsese (“The Departed”) if I vote with my heart.
Will win: Martin Scorsese
BEST ORIGINAL SCREENPLAY
Will win: “Little Miss Sunshine”
Should win: “Pan’s Labyrinth,” for its amazing blend of reality and fantasy
BEST ADAPTED SCREENPLAY
Will/should win: “The Departed.” That screenplay just cooks. And sizzles.
BEST ANIMATED FEATURE
Will win: “Cars”
Should win: “Monster House”
BEST DOCUMENTARY
Will win: “An Inconvenient Truth” will clean up, after a fashion.
Should win: Have not seen enough of the nominees to say.
BEST FOREIGN LANGUAGE FILM
Will/should win: “Pan’s Labyrinth,” which has five other nominations, should win easily. And it’s a masterpiece, so it’s deserving.
BEST SCORE
Will win: Alexandre Desplat, “The Queen.” The Academy seems to favor these sorts of “classy,” understated scores e.g. “Emma” and “The Cider House Rules.”
Should win: “Pan’s Labyrinth” had a sweeping score, but it didn’t overwhelm the movie, as so many sweeping scores do.
BEST SONG
Will/Should win: “Listen” from “Dreamgirls” was the emotional high point of the new songs written for the film.
BEST ART DIRECTION
Will/Should win: Some are guessing the “Dreamgirls” time warp will win, but with all the nominations “Pan’s” has, I think enough people have seen it to realize what an achievement its fantasy landscapes are.
BEST CINEMATOGRAPHY
Will/Should win: Emmanuel Lubezki has earned so much praise for his stunning tracking shots in “Children of Men” I find it difficult to bet against it, although “Pan’s Labyrinth” could upset. But I doubt it.
BEST EDITNG
Will win: Thelma Schoonmaker, Scorsese’s editor, won only two years ago for “The Aviator,” so I’ll guess the Academy taps the overlapping stories of “Babel.”
Should win: “United 93” was a master class in editing.
BEST COSTUMES:
Will/should win: Contemporary films don’t often win here, but I’m betting that “The Devil Wears Prada” proves the exception to the rule. Not only did the costumes have to reflect the latest fashion trends, they also had to reflect the characters, and they did so very well.
BEST SOUND
Will win: Musicals usually take the prize here, so “Dreamgirls” gets it.
Should win: “Apocalypto” used sound well not only because it knew when to bombard you, but when not to. And I do not say this wholly in sympathy for poor Kevin O’ Connell, who has been nominated in this category 19 times without one lousy win. Eat your heart out, Scorsese and O’Toole.
BEST SOUND EDITING
Will/should win: This typically goes to the movie with the most sound editing. That’s “Pirates.”
BEST MAKEUP
Will/should win: “Pan’s Labyrinth” in a walk.
BEST VISUAL EFFECTS
Will/should win: “Pirates of the Caribbean: Dead Man’s Chest.” I may not be a huge fan of the sequel, but I’d be a fool to say the effects were anything but astonishing. The film deserves the award for Davy Jones alone.
Good luck in your office pools, I’ll see you here for the live blogging Sunday!
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Who/will should win the Oscar for Best Picture?
And now - it’s time for the big one - predicting the Oscar for Best Picture. And for the first time in a long while, this is the toughest of the big races to predict.
Each of the nominees has a conceivable shot at winning. Here they are:
- Little Miss Sunshine
- Babel
- The Departed
- Letters from Iwo Jima
- The Queen
Everyone agrees “The Queen”’s greatest asset is its title performance, and everyone agrees Mirren is a lock to win that Oscar. However, its very British milieu means it may not resonate so well with American voters. And some see it as a TV movie, albeit a very classy one.
“Letters” was a late entry in the competition because its companion Iwo Jima film, “Flags of Our Fathers,” wasn’t the awards juggernaut everyone assumed it would be. Because voters have recently discovered “Letters,” it may have more steam than people suspect, and most think it’s a notable improvement over “Flags.” Still, I find it hard to imagine a sizable bloc of voters embracing what is really a small foreign language arthouse pic, even though Clint Eastwood directed.
“The Departed” is the biggest hit of the bunch, and contrary to popular belief, that helps more than it hurts your prospects for the big prize. Many people who see it come out charged, and affection for presumed Best Director Martin Scorsese will give it a boost. However, complaints that the movie is “just” a very well done genre pic are prevalent.
“Babel” has been likened to an international version of “Crash,” last year’s victor, and this is the most self-consciously heavy and important film of the lot. Voters who feel the Best Picture should have “something to say” will most likely check its box. However, “Babel” divides every crowd that sees it, so there’s a sizable contingent that hates it.
That leaves “Little Miss Sunshine.” Some see it as too slight, too small, too quirky to win. And experts like to point out that the movie has neither a directing nor editing nomination, two bellwethers for Best Picture. However, all things being equal, I don’t believe voters sit around with their ballots, thinking “Well, this film won’t get this, but that film will win this, so I have to/must not give this third film something.” The Academy members are not that cerebral. They vote for what they like - or more importantly, what they love. “ “Sunshine” is the warmest and fuzziest film of the nominees - I think it wins.
WILL WIN: “Little Miss Sunshine”
SHOULD WIN: “The Departed” was my number two film of the year, behind “United 93.” Spectacularly easy call.
One more day of predictions to go. Here’s what I’ve covered so far and what’s coming up:
MONDAY: The Actors
TUESDAY: The Actresses
WEDNESDAY: The Directors
FRIDAY: Wrap-up, including other categories
SUNDAY: Live-blogging the Oscars
In the meantime, comment: Who should win and who will win the big prize?
Permalink | Comments (4) | Categories: Oscars Sunday Night
Oscar Predictions: The Directors
We’ve taken a look at the Oscar nominees in front the camera, now we look at the nominees behind it.
BEST DIRECTOR
- Martin Scorsese, The Departed
- Alejandro Gonzales Inarritu, Babel
- Clint Eastwood, Letters from Iwo Jima
- Stephen Frears, The Queen
- Paul Greengrass, United 93
Most Oscar forecasters agree that Martin Scorsese, regarded by many (including me) to be the greatest living movie director, will take leave of his unlucky streak and take home a statue for “The Departed,” the biggest hit of his career. But is he beatable? Let’s look at the other candidates and see.
The director’s branch of the Academy has often made bold nominations that few other groups would. This is how Greengrass made the cut, as a kind of kudos for getting “United 93” made and doing so with such distinct style. That’s as far as the Academy will go, but this very talented man will be back in contention soon.
Like Scorsese, Stephen Frears is a highly respected filmmaker, and that considered, it’s rather astonishing that this is only his second nomination, after “The Grifters.” He’s overdue, but some see “The Queen” as a glorified TV movie, so his chances are shaky.
Clint Eastwood is a god to the Academy, and his double-barreled shot of Iwo Jima movies (the other being “Flags of Our Fathers”) is indeed an impressive achievement that deserves recognition - and he has it via the nomination. Considering Eastwood won just two years ago for “Million Dollar Baby,” he won’t repeat a triumph over Scorsese, who was nominated the same year as “Baby” with “The Aviator”
Inarritu has steadily gained clout over the years for quickly developing a signature style of interlocking stories with intense drama and very strong performances. Some see “Babel” as his best work yet, but others see it as one too many trips to the well.
So it’s rather ironic, then, that Scorsese gets some of his best notices in years for returning to the well that has served him so well, the crime movie. Some gripe that “The Departed” isn’t in the league of “Goodfellas” or “Raging Bull.” Indeed it’s not. But that kind of thinking didn’t stop the Academy from awarding Al Pacino in “Scent of a Woman” or Paul Newman in “The Color of Money,” (directed by Scorsese) and few would call those their best performances. Scorsese’s time has come. If anyone besides he or Greengrasss wins this, there will be a large hole in whatever screen I’m watching the Oscars on.
SHOULD WIN: With his masterful sense of time and place, and his knack for creating eerie and tense moods, Greengrass did the actual best directing of the bunch.
WILL WIN: But will you NOT hear me complain when Scorsese’s name is called.
MONDAY: The Actors
TUESDAY: The Actresses
THURSDAY: The Pictures
FRIDAY: Recap, plus other categories
SUNDAY: Live-blogging
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Oscar Predictions: The Actresses
Yesterday I predicted the best actors for the Oscars; today I predict the best actresses, and that task has rarely been easier than in this year.
With all due respect to every nominee who isn’t Helen Mirren or Jennifer Hudson, it almost seems like overkill to write about anyone else, because those two ladies are so very far ahead.
In the interest of fairness, however, I shall forge ahead with my analysis. Again, nominees are listed from most to least likely to win.
BEST ACTRESS
- Helen Mirren, The Queen
- Meryl Streep, The Devil Wears Prada
- Kate Winslet, Little Children
- Penelope Cruz, Volver
- Judi Dench, Notes on a Scandal
Dench has no shot, and she knows it. Word has it she’ll skip the ceremony for a knee operation - what fun! The performance is, of course, very good, but her win for “Shakespeare in Love” is still fresh in the memory.
Those who only know Cruz from her American movies may be surprised to see her here. Don’t be. In her native tongue, she’s a completely different actress. She’s wonderful as a woman struggling to reconcile her family, but the competition here is simply too fierce.
Kate Winslet can do no wrong. In fact, she rarely does even “just good.” Once again, she is a marvel as a bored and alienated housewife who has a reckless affair. In any other year, she might have won, but for now, she’ll just have to wait until she scores another great performance. Knowing her, that will be her next one.
It’s been a long time since Meryl Streep has won; she last took a statue home for “Sophie’s Choice” in 1983. Her delectably nasty turn as a hell on heels fashionista might have won her her third Oscar, except for one thing….
Meryl Streep has two Oscars. Helen Mirren is also an acting goddess, and she has none - yet. That will change when the Academy awards her for her turn as Queen Elizabeth, dealing with the aftermath of Princess Diana’s death. Mirren’s mantel is sagging under the weight of the awards she’s collected already for this role. If she does not win Sunday, I may have to stop live blogging because I’ll be in shock.
SHOULD WIN: Much as I admire Mirren’s superb turn, Winslet moved me more.
WILL WIN: Helen Mirren
BEST SUPPORTING ACTRESS
- Jennifer Hudson, Dreamgirls
- Abigail Breslin, Little Miss Sunshine
- Adriana Barraza, Babel
- Rinko Kikuchi, Babel
- Cate Blanchett, Notes on a Scandal
Blanchett is excellent as usual, but she won only two years ago in this same category for “The Aviator.” She’s out.
Of the two “Babel” women, the veteran Barraza has the stronger chance, but Kikuchi, who was even better in the movie will cut into her vote, meaning neither will win.
The Academy has long been kind to very young ladies in this category. Just ask Oscar winners Tatum O’Neal (“Paper Moon”) and Anna Paquin (“The Piano.”) That means that Breslin has a shot at winning for her immensely cute but remarkably assured performance as a beauty queen wannabe. However…
Realistically, this is Jennifer Hudson’s to lose. One can argue that she lost a little momentum when “Dreamgirls” failed to snag a Best Picture nomination, but I think those who have misgivings about the film as a whole don’t extend those misgivings to Hudson. All that applause for “And I’m Telling You I’m Not Going” DURING screenings of the movie (including mine) wasn’t to keep time during the song, I’m telling you that - to coin a phrase.
WILL/SHOULD WIN: Jennifer Hudson
Here’s the schedule for the week.
MONDAY: The Actors
WEDNESDAY: The Directors
THURSDAY: The Pictures
FRIDAY: All others, plus an overall wrap
SUNDAY: Live-blogging the ceremony
Who should win the actress races? Who will?
Permalink | Comments (1) | Categories: Oscars Sunday Night
Home (Re) Viewing: Oscar bait
More Oscar nominees arrive on DVD shelves this week in time for Sunday’s show, along with a few titles that probably came close to making it.
Babel: This multi-country, criss-crossing drama about how fates interlock after an American tourist is shot has been touted lately as a possible Best Picture winner. It’s tough going to be sure, and it goes on too long, but at its best, the film is an emotional knockout. Starring nominees Adriana Barraza and Rinko Kikuchi, plus Brad Pitt and Cate Blanchett. Directed by Alejandro Gonzalez Inarritu. Buyer beware: There are no extras on the disc, suggesting a possible double-dip.GRADE: A- Buy it/Rent it
Flushed Away: This foray into CGI from the makers of “Chicken Run” and “Wallace and Gromit and the Curse of the Were-Rabbit” isn’t quite in the same class as those, but it has plenty of lively moments, especially from Kate Winslet and the singing slugs. Probably just missed a Best Animated Feature nod. GRADE: B+ Buy it/Rent it
Man of the Year: This political comedy with Robin Williams as a Jon Stewart-like personality who becomes president probably wasn’t in the running for any Oscars, and it didn’t deserve it. It works fairly well as a comedy but runs badly off track when it tries to be a political thriller. GRADE: C Buy it/Rent it
The Prestige: Christopher Nolan’s amazing film about the deadly rivalry between feuding magicians picked up a coupe of tech nods (cinematography and art direction) but should have gotten more. Gets even better with repeat viewings. GRADE: A Buy it/Rent it
Shut Up and Sing: This documentary on the trials and tribulations of the Dixie Chicks didn’t make the cut at the Oscars, which is too bad - I liked it much better than the presumed winner, “An Inconvenient Truth.” By the end, it becomes unexpectedly moving. GRADE: A Buy it/Rent it
Also Out Today
For Your Consideration: Christopher Guest’s latest improv-a-thon centers around inflated Oscar buzz. How timely. Buy it/Rent it
Gandhi: Many people look upon this film’s victory over “E.T.” as one of Oscar’s more egregious goofs. “E.T.” is indeed the better movie, but the anointing of “Gandhi” is by no means an embarrassment, especially considering Ben Kingsley’s towering lead performance. It’s out on DVD with a generous bunch of extras. Buy it
Permalink | | Categories: On Video/DVD
Oscar Predictions: The Actors
Behold Oscar fans! The end of the wait is nigh!
That means that the Oscars are at 8 p.m. this Sunday on ABC, so it’s time to roll out my predictions. Be advised I once placed sixth in the nation in a predicting contest. But also be advised that I didn’t have “Silence of the Lambs” taking home any major Oscars. So make of my record what you will.
I’ll be doing this all week on the blog, with this schedule:
TODAY: The Actors
TUESDAY: The Actresses
WEDNESDAY: The Directors
THURSDAY: The Pictures
FRIDAY Everything else, and an overall wrap
SUNDAY: Live-blogging the Oscars.
So how will the men fare? Here’s what I see. Nominees are listed from most to least likely to win.
BEST ACTOR
- Forest Whitaker, The Last King of Scotland.
- Peter O’ Toole, Venus
- Will Smith, The Pursuit of Happyness
- Leonardo DiCaprio, Blood Diamond
- Ryan Gosling, Half Nelson
Gosling’s honor is simply being nominated. He has almost no chance here, considering that the Independent Spirit Awards are likely to reward him. But he will be back someday.
Poor Leo. Had he been nominated for “The Departed” as he should have been, he would have stood a chance of winning. Alas, he’s up for his strong work in a film that is not so loved. He’ll have to wait for his shot another day.
I cannot rule out Will Smith, as some have. His strong work combined his effortless charm with real dramatic weight, and his movie is well liked. However, he’s never built momentum, so my guess is that the heavier competition here will ace him out.
Peter O’Toole is a legend who has never won in eight tries, and the Academy MIGHT be in the mood to give him a competitive award after they tossed him an honorary statue, which he rather begrudgingly accepted in 2003. However, his movie is rather slight, except for his acting, so I’m thinking O’Toole will have to be content with that honorary award.
That leaves Forest Whitaker, who has won just about every precursor award under the sun, and deservingly so, for making his take on dictator Idi Amin charismatic, funny and finally monstrous. The Academy loves these sort of blustery, transformative performances, and Whitaker will get his just reward.
WILL/SHOULD WIN: Forest Whitaker
BEST SUPPORTING ACTOR
- Alan Arkin, Little Miss Sunshine
- Eddie Murphy, Dreamgirls
- Jackie Earle Haley, Little Children
- Mark Wahlberg, The Departed
- Djimon Hounsou, Blood Diamond
Only Hounsou has absolutely no chance, which is OK by me. He’s a great actor, but this performance was all easy bait: lots of screaming and glowering. He’ll be back in more deserving roles.
I personally would love to see Wahlberg take home the award for delivering so many withering putdowns with such aplomb. He was the most fun to watch from this group. He has an outside shot of taking the prize home, but I think some people believe that all Wahlberg did was deliver dialogue that was already great on the page.
Haley’s comeback from obscurity is a terrific story for this Bad News Bear, giving him almost enough clout to win on that basis alone. And he’s been winningly humble in the pre-show publicity. As it happens, he’s also great as a creepy yet sympathetic pedophile in the film. He may yet win, but my hunch is the nomination is his award.
Most people have Murphy leading this supporting race, and some even have called him a lock to win. I don’t agree. He may very well win this award, and I give him major props for leaving much of his usual baggage behind in this role. That doesn’t make him a lock. Yes, he’s won a number of awards for playing a fiery and eventually drug-addled singer. Actors like Murphy (witness his SAG win) but he has alienated many a Hollywood bigwig over the years with his prima donna attitude, and I think many people would rather not reward him. As for the backslide into the crudity of “Norbit” right before the awards, I can’t say for sure how much impact that has, but it does more harm than good.
That leaves Alan Arkin, whose role as the ribald grandpa in “Little Miss Sunshine” tickled many. The buzz from the film as a surprise winner in previous awards, and Arkin’s status as a longstanding, well-liked pro greatly help him.
SHOULD WIN: Mark Wahlberg
WILL WIN: Alan Arkin
Tomorrow I forecast for the women. But first, tell me which men you think will win - and who should.
Permalink | Comments (3) | Categories: Oscars Sunday Night
Picking a bone with ‘Ghost Rider’
I hate snow.
What has that got to do with “Ghost Rider”? Everything, actually.
You may recall me writing last week that I hoped to review the spy thriller “Breach.” Problem with that was, “Breach” screened on Tuesday, when the big snowstorm hit us. So I got stuck at home - and got stuck reviewing “Ghost Rider,” which has the dubious distinction of being the most expensive movie ever made that should have gone directly to video.
Where do I start?
Well, let’s start with the basic premise. This is a movie about a superhero whose power is to turn into a skeleton, light himself on fire and scare people. Heck, I had a hard time writing that last sentence without typing the word “dude” in front of it.
Granted, the folks who made this movie don’t mean for us to take it all that seriously, particularly not when Nicolas Cage is playing the lead in full-on, “Aw, hell with it” mode. But honestly - is one really supposed to root for a superhero who looks like the love child of the Human Torch and He-Man nemesis Skeletor?
Since the movie doesn’t try to take anything seriously, I’m not going to review it seriously either. In fact, I’ll have some fun and give every character fake names that I think describe them accurately. Well, all except for Ghost Rider. He comes with his own silly name. Two, actually, if you count his “human” name, Johnny Blaze. (Get it? Get it??)
You see, back in the day, Ghost Rider, to save his dad’s life, made a deal with the devil, Uneasy Rider, played by Peter Fonda. Being the devil, Uneasy Rider allows Ghost Rider’s dad to die anyway. That gives Ghost Rider a giant chip on his shoulder, so he can’t hang with the love of his life, the Girl Who Looks Lost (Eva Mendes). She was the character I related to most.
As it turns out, Uneasy Rider has a son, Vampire Boy, played by Wes Bentley, who pretty much throws away the promising career started by “American Beauty.” Vampire Boy and his henchmen, the ghouls from Michael Jackson’s “Thriller,” want to go after Ghost Rider too. Vampire Boy is after some old parchment so he can rule the world and jack up the visual effects budget for the movie.
Or something to that effect.
So Ghost Rider discovers he can turn into a walking barbeque, using a big ol’ chain as his main weapon and a motorcycle that spits out a trail of fire like the Road Runner makes when he turns on the turbo speed and Wile E. Coyote drops his teeth. His sidekick is the Marlboro Man, played by everyone’s favorite grizzled actor with a gravely voice, Sam Elliott. (I guess Kris Kristofferson was unavailable.)
Still with me after reading all that? If you are, go and see “Ghost Rider,” because it requires suspension of disbelief that I could not muster. Your average episode of “Super Friends” was more fun. Where’s Gleek when you need him?
I’ll admit, I got a genuine laugh or two from the silliness of the whole thing, and from Cage’s valiant attempt to go with the flow. But even in campy superhero movies, you have to care about what’s going on. I was too busy trying to ponder the meaning of lines like “He may have my soul, but he doesn’t have my spirit.” Whatever, dude.
The writer-director of this movie, Mark Steven Johnson, made “Daredevil,” but next to “Ghost Rider,” “Daredevil” looks like “Spider-Man 2.”
And speaking of twos, yes, the door is left open for a sequel to “Ghost Rider.” If there is any justice in the world, that sequel has a snowball’s chance in hell of getting made.
GRADE: D
Permalink | Comments (6) | Categories: Reviews
Girl You Know It’s True: A Milli Vanilli movie?
I read the news today (oh boy) on AICN that Universal wants to make a movie about Milli Vanilli, those infamous, notorious fakers who sold lots of records and won a Best New Artist Grammy, even though they didn’t sing a note on their songs. It is to be written and directed by Jeff Nathanson, who penned two excellent scripts for Steven Spielberg: “Catch Me If You Can” and the sorely underrated “The Terminal.”
My first reaction was to groan and roll my eyes. I think that’s a reflex with anything involving Milli Vanilli. Call it dreck by association.
But then I got to thinking - maybe it’s not such a bad idea. The story of Milli Vanilli is certainly a dramatic one, and if Nathanson handles it right, it could make for quite a good movie.
Still, two questions remain:
Does this movie really need to happen when the story has already been told quite well in one of the best episodes of VH1’s “Behind the Music?” (This was back when VH1 was actually worth watching.)
And more importantly, if they do make this movie, will you go see it? For that matter, who should play Rob and Fab? Any suggestions?
Permalink | Comments (1) | Categories: Coming Attractions
Here’s looking at movie romances, kid
What makes for a great Valentine’s Day? A viewing of any one of these, my personal favorite movie romances of all time.
1. Casablanca (1942): Duh. Anyone who doesn’t put this unassailable classic at or near the top of their list needs to rewatch the movie (or watch it, period) and reconsider. Humphrey Bogart and Ingrid Bergman are the ultimate Hollywood couple, directed by Michael Curtiz.
2. The Umbrellas of Cherbourg(1964): Musicals are often romantic affairs, but none more so than this French heartwarmer, in which every single line is sung. Andrew Lloyd Webber only wishes he could produce a sung-through musical this affecting. With Catherine Deneuve and Nino Castelnuovo, directed by Jaques Demy.
3. City Lights (1931): Charlie Chaplin’s masterpiece is rightly thought of primarily as a comedy, but the foundation of the comedy is a lovely romance that culminates in the most beautiful movie ending of all time. Fun trivia: the flower girl, Virginia Cherrill, was Cary Grant’s first wife.
4. Adam’s Rib (1949): Clark Gable and Claudette Colbert may have helped pioneer the couple at odds in “It Happened One Night,” but Spencer Tracy and Katharine Hepburn perfected it in this hilarious story about husband and wife lawyers on opposite sides of a divorce case. Directed by George Cukor.
5. Beauty and the Beast (1991): A recent Amazon.com poll listed this as one of the worst date movies of all time, probably because people think of it as a cartoon for kids. Wrong, wrong, wrong. No movie, outside of maybe “The Wizard of Oz,” has greater power to move me to tears.
6. Before Sunrise/Before Sunset (1995/2004): OK, so I’m cheating by putting two movies in one entry, but one film is not complete without the other. Not only is the original the best story of romance on a whim, but the sequel is emotionally richer, as it explores how the couple has changed since they first met. With Ethan Hawke and Julie Delpy, directed by Richard Linklater.
7. To Catch a Thief (1955): When people think of Alfred Hitchcock, romance doesn’t usually spring to mind, yet two of his films make my cut. Many critics would cite “Notorious” as his most romantic film, but no list of mine would be complete without the most radiant appearance of the most beautiful movie star of all time: Grace Kelly. This movie contains my favorite seduction scene of all time (fireworks, anyone), and my favorite exchange: “Do you want a leg or a breast?” “You make the choice.”
8. Notorious (1946): Alfred Hitchcock’s second most romantic film - even if it does have the longer kiss. With Cary Grant and Ingrid Bergman.
9. The Clock (1945): This movie is surprising in many ways. It offers a rare non-singing role for Judy Garland (who, unsurprisingly, is luminous), while Robert Walker is utterly winning, though he would later go on to be utterly evil in “Strangers on a Train.” Though the movie wasn’t filmed in New York, it still captures the feel of the Big Apple better than either the overrated “An Affair to Remember” or “Sleepless in Seattle” - or either version of “Love Affair,” for that matter. Seek this one out - it finally became available on DVD last week.
10. Annie Hall (1977): Many people bemoan the fact that this movie beat “Star Wars” for the Best Picture Oscar, and yeah, “Star Wars” deserved it, but this movie won for a reason: it’s one of the funniest and most insightful tales of why couples make up, break up and make up, etc. Woody Allen directs and romances Diane Keaton.
Honorable mentions; Almost any romance with the most lovable of actresses, Audrey Hepburn, and “Jerry Maguire,” which contained the line, “That’s not a dress, that’s an Audrey Hepburn movie.”
Just for comparisons’ sake, here’s a list of the best movie romances of all time as determined by the Zagat movie survery:
Classic
“Casablanca” - O’ course.
“The Lady Eve” - An inspired choice, since many think of this Preston Sturges movie as a screwball comedy first. But darnedf if Henry Fonda and Barbara Stanwyck don’t love each other.
“The African Queen” - Bogie and Kate.‘“Nuff said.
“It Happened One Night” - It practically invented the romantic comedy.
“Gone with the Wind” - I’ve always found it rather overrated, but I’ll concede the choice.
“The Philadelphia Story.” - Cary, Kate and Jimmy. ‘Nuff said.
“Notorious.” - See above.
“Brief Encounter” - Early David Lean, before he got into epics.
“How Green was My Valley” and “The Quiet Man” - A pair of John Ford films are a touch dated but still very compelling. And there was scarecely a more fiery couple than John Wayne and Maureen O’Hara.
Modern
“Annie Hall”
“The Graduate” - Katharine Ross was awfully cute.
“Doctor Zhivago” - Here’s epic David Lean, and this deserves to be on the list for the theme alone.
“A Room with a View” - I’ve always been somewhat cool to Merchant/Ivory movies, but I prefer “The Remains of the Day” myself.
“Charade” - Cary n’ Audrey. Any questions?
“Manhattan” - Woody Allen’s Valentine to that island as much as romance itself.
“Harold and Maude” - I’ve not seen it yet, but some love this quirky comedy of a January-December romance, and some don’t.
“The Apartment” - “Shut up and deal.” One of Billy Wilder’s very best, and that’s saying a lot.
“Romeo and Juliet” - Franco Zefferelli’s version is a good way to get high school students into Shakespeare. Worked for me.
“Walk the Line” - Joaquin Phoenix and Reese Witherspoon did ace their roles.
No, “When Harry Met Sally …” and “Pretty Woman” didn’t make these lists. Color me surprised.
But now, as ever, it’s your turn. What movies make Valentine’s Day ideal?
For a new Valentine’s Day movie, look for my review of “Music and Lyrics” by clicking here.
Permalink | Comments (1) | Categories: Lists
Hugh and Drew are ‘Music and Lyrics’ to these ears
“Music and Lyrics” begins on a perfect note, with a parody music video that, for all the world, makes Hugh Grant look like the Andrew Ridgeley of an unmistakably Wham-esque band.
It’s a hilarious beginning that is at once sharp, yet affectionate: the video makes 1980s pop look just as silly and mindless as it actually was, but it does so in a nice way. Rather than skewering the likes of George Michael, which would be all too easy, the video essentially says, “Weren’t we into some goofy stuff 20 years ago?”
The video sets the tone nicely for “Music and Lyrics.” Like the video, the movie has a sharp wit but is also warm and very likable, making it perfect for Valentine’s Day.
Grant plays Alex Fletcher, who was once a sensation as a member of a band called PoP!, but these days is reduced to reliving past glories at amusement parks and county fairs complete with cheesy karaoke backing tracks (is there any other kind?) and swooning women aching to recapture their youth.
Opportunity knocks for Alex when a teen PoP! - er, that is, a pop tart named Cora (Haley Bennett) invites him to pen a new hit song for her. Alex is a little rusty, but serendipity comes a-calling when the cute girl who waters his plants, Sophie (Drew Barrymore), turns out to have a knack for turning and rhyming a phrase. A partnership forms - and so does an attachment, natch.
Too many critics have huffed that “Music and Lyrics” is mere formula, and guess what? It is. But it is not necessary for writer-director Marc Lawrence (“Two Weeks Notice”) to innovate the Valentine, particularly when his greetings are so winning.
Chief among these is Grant and Barrymore, who are delightful together. Indeed, the movie’s biggest misstep is that it doesn’t make enough use of them. I wish the movie had banked on its title and shown the duo writing songs together more often. What is onscreen, however, mostly works very well.
Grant’s sarcastic sense of humor keeps the romance from getting sticky, as he casually tosses off lines, making them sound like he wrote them off the cuff. At one point, he tells Sophie, who is very tentatively cutting a vocal, “Just a little bit louder - this song is intended for humans.”
Barrymore, for her part, has proven herself to be one of the most endearing romantic leading ladies we’ve got. She overcomes a forced and unconvincing back story of failed romance that makes her too neurotic and unsure of herself. She also scores with the movie’s best line. After Cora tacks on an erotic Indian-flavored (!) intro to her song Sophie objects to the “orgasm set to the soundtrack of Gandhi.”
Newcomer Bennett, as Cora, is among the high points herself. Some may misread her as doing a Britney Spears imitation, but something throws that comparison off: Bennett can actually sing and she has a likable screen presence.
And there’s another musical contributor to this movie who deserves a great deal of credit: Adam Schlesinger, who penned most of the tunes. Just as he perfectly captured mid-60s pop with the title song of the endlessly catchy “That Thing You Do,” Schlesinger nails 80s pop to a T. His songs fit the movie very, very well - an asset too often ignored when the Oscars hand out their Best Song trophies.
“Music and Lyrics” is not a great movie in and of itself, but it is a great date movie in that it satisfies both the girls and the guys. The girls will get their dose of Valentine’s Day romance, and the guys will get through it without feeling like they’re drowning in a sea of candy hearts that go PoP!
GRADE: B
Permalink | Comments (3) | Categories: Reviews
Home (Re) Viewing: Let this weather be ‘Departed’
It might be rather hard to get to the video store today in Southwest Ohio, but when you can make it, or when your mail rentals arrive, here’s a rundown of this week’s pretty darn good video selection.
The Departed : One of last year’s very best movies makes this week’s selection pretty darn good all by itself. Click the title for my full-length rave of this top-notch Scorsese movie, with one of the best casts he’s ever had. DVD fans take note: The two-disc edition has all the goodies, including the very good documentary “Scorsese on Scorsese,” in which the director talks about his career up through “The Aviator.” GRADE: A+ Buy it/Rent it
The Infernal Affairs Trilogy: This ever -so-timely box collects the Hong Kong films from which “The Departed” sprang. I’ve seen the first film, and it’s extremely entertaining. Much of it is quite similar to Scorsese’s movie, but some of the plot twists are entirely different, which is why the Hong Kong filmmakers were able to make follow-ups. One is a prequel, the other is sort of a prequel/sequel. I prefer Scorsese’s version for its richer characters, but the original film deserves its rep as a Hong Kong classic. Buy it.
Half Nelson: A crack-addicted teacher (Ryan Gosling) forms a unique relationship with a student (Shareeka Epps) who catches him indulging in his habit, but the student s has her own burdens with which to cope; This gritty little indie is very powerful at times, thanks mainly to sterling performances by the two leads. Gosling richly deserved its Oscar nom. I found it somewhat overrated in that it was a little too emotionally remote at times, but it’s a memorable experience all the same. GRADE: A- Buy it/Rent It
Marie Antoinette: I greatly enjoyed looking at this anachronistic take on the queen of France who was content to let them eat cake, with its modern music playing over the period setting.However, I didn’t much care about anyone in it. Kirsten Dunst is lovely in the lead, and writer -director Sofia Coppola gets points for creativity, but the movie is like a coffee table book without substance. GRADE: C+ Buy it/Rent it
School for Scoundrels: Bad Santa and Napoleon Dynamite - uh, I mean, Billy Bob Thornton and Jon Heder trade barbs as Heder takes Thornton’s class on manliness, only to find that Thornton is gunning for his girl. The movie has a few inspired laughs, but it never builds enough steam to make it truly memorable. GRADE: C+ Buy it/Rent it
The US vs. John Lennon: This documentary on Lennon’s fight against deportation efforts by the Nixon administration comes across like “John Lennon for Dummies: The Green Card Fight.” The movie gets the job done well enough, but it’s all surface level. Any good Lennon biography or author Jon Wiener’s books on this subject offer much more insight. GRADE: B- Buy it/Rent it
Also out today
Infamous: The “other Truman Capote movie” got lost in the shuffle last year, but from what I hear it’s pretty good. A few even think it’s better than the Oscar-winning “Capote.” Buy it/Rent it
So Goes the Nation: Ohioans will be particularly intrigued by this documentary that looks at how the 2004 presidential election played out in this battleground state. Buy it/Rent it
Permalink | | Categories: On Video/DVD
Anna Nicole: It’s not funny
When the news broke Thursday that Anna Nicole Smith had died suddenly, I could hear the derisive jokes already.
“Wonder how many drugs she took?”
“It was the silicone that did her in.”
Har har har, snarf snarf snarf.
But I wasn’t laughing - and I must admit, I was surprised I wasn’t laughing.
Like many people, I never had much use for Anna Nicole. In fact, it’s fair to say I found her actively annoying. Whenever I saw her on TV, I usually sneered and quickly flicked the remote. Her imitation of Marilyn Monroe was galling, considering there was more talent in one of Monroe’s eyelashes than in all of Anna Nicole.
As for her movies, she did appear in a couple good ones like “The Hudsucker Proxy” and “The Naked Gun 33 and 1/3rd,” but what worked in those movies wasn’t because of her.
And while I understand a lot of people are interested in her story, I raise my eyebrow at the fact that she received the kind of nonstop coverage and quotes sidebars usually reserved for heads of state and Hollywood legends. And yes, by posting this, I’m only adding to the pile, I know.
But I do so because I was surprised at how sympathetic I felt for her. Thinking about it, I realized why I wasn’t laughing at those jokes.
It’s not funny that someone dies suddenly at the age of 39, whatever her autopsy reveals.
It’s not funny that Anna Nicole’s family and friends are stunned and saddened at her untimely death.
It’s not funny that she died after the loss of her son amid an array of legal troubles.
It’s not funny that this resulted in so many tributes about her from lawyers.
And it’s especially not funny that her 5-month old daughter will never know her mother, no matter what one thought of that mother’s character.
Will I miss Anna Nicole Smith? If I’m being honest with myself, the answer is no. I will not miss Anna Nicole Smith the starlet. But all the same, I mourn the loss of Anna Nicole Smith, the human being.
Permalink | Comments (21) | Categories: Celebrities
Neither Norbit nor Hannibal - what a shame (?)
I have no review today because “Hannibal Rising” didn’t screen locally, and because scheduling conflicts prevented me from seeing “Norbit.”
Given the reviews for the Hannibal Lecter prequel and the Eddie Murphy-under-mounds-of-makeup movie, however, it looks like maybe my soul will thank me for it. If anyone sees them, let me know what I missed - if anything.
If all goes as planned, you’ll get a double hit of reviews next week: “Music and Lyrics” with Hugh Grant (music) and Drew Barrymore (lyrics) on Valentine’s Day, and of the spy thriller “Breach” with Ryan Phillippe, Chris Cooper and Laura Linney next Friday.
Permalink | Comments (1) | Categories: In Area Theaters
What are the best lead performances of the movies?
As I indicated yesterday, in light of the forthcoming Oscars, I’ve been wondering: What are the greatest leading performances of all time in the movies?
You can never ask a movie buff a question like this and get just one simple answer, so I have several.
My favorite actor of all time is James Stewart, and one of my favorite films of all time is Alfred Hitchcock’s “Vertigo,” so it stands to reason that Stewart’s performance in that film gets my vote for the best male performance of all time. Kudos to SRCPutt for his amazing predictive powers.
Stewart was well known (perhaps too much so) for his self-effacing “aw, shucks” personality, and there are elements of that in “Vertigo,” but there’s something much, much more complex going on here. Later in his career, particularly after World War II, Stewart began bringing darker shadings to his roles, and Scottie Ferguson is his most complex and fascinating display of that.
On the surface Scottie’s an engaging, affable sort, but once tragedy strikes his life, fear and obsession come crawling out in frightening ways. For someone who was so well known for playing likable, all-American types, Stewart made Scotty creepy bordering on sick, yet he was always sympathetic. It’s an amazing balancing act, but Stewart never misses a step.
My favorite actress of all time is Judy Garland but my favorite performance of hers is not Dorothy in “The Wizard of Oz.” Instead, I choose her performance as Esther Blodgett/Vicki Lester in the 1954 version of “A Star is Born.” Of course, Judy’s singing is front and center (I defy anyone to watch “The Man That Got Away” for the first time and keep their mouth closed), but she reveals dramatic depths here that were only hinted at before. She’s vibrant, yet afraid; dynamic yet vulnerable. And she’s very funny too - a quality that is too often overlooked because her real-life troubles get way too much attention.
Other picks:
Robert De Niro in “Raging Bull,” not only for the amazing physical transformation, but for the way he makes Jake La Motta compelling even though he’s a despicable lout.
Kate Winslet, my favorite actress working today, who never steps wrong but gave her best performance as Clementine in “Eternal Sunshine of the Spotless Mind.” She made Clementine both lovable and maddening, thus making her all too believable as the love of one’s life.
So what are your picks for the best leading acting performances of all time?
Permalink | Comments (2) | Categories: Ask the Audience
Wanna see all five Best Picture nominees in a theater?
You might have a bit of a drive to do it, but AMC theaters will show all five films nominated for Best Picture Oscars in one day, that day being Feb. 24. The nearest AMC theaters in this part of Ohio are Newport on the Levee just across the river from Cincinnati, and most multiplexes in Columbus.
The lineup is “Babel” at 11:00 a.m., “The Queen” at 1:45 p.m., “The Departed” at 3:45 p.m., “Letters from Iwo Jima” at 7 p.m. and “Little Miss Sunshine” at 9:45 p.m.
Tickets for the mini-marathon are $30, which is a pretty good deal for five movies. Heck, if I didn’t have to work most Saturdays, I’d go myself. All these films are worth seeing on the big screen - but that’s true of any good movie.
Permalink | | Categories: In Area Theaters
TCM’s 31 Days of Oscar: Best Actor
Over today and tomorrow, TCM’s Oscar festival features movies with Best Actor nominees/winners. Among the highlights today:
3 p.m. - Mr. Smith Goes to Washington: Orson Welles once said that Jimmy Stewart’s performance in this film was “beyond praise.” It is indeed one of his best. (To find out what I think is the best, tune in tomorrow.)
5:15 p.m. - Anatomy of a Murder: Jimmy again, this time in the best courtroom drama ever made - after “Twelve Angry Men” of course.
8 p.m. - Inherit the Wind: More courtroom drama, with Spencer Tracy and Frederic March acting up a storm in Stanley Kramer’s dramatization of the infamous evolution trial. It’s also interesting to see Gene Kelly as a cad of a newspaper reporter.
10:15 p.m. - Starman: Jeff Bridges was nominated for his affecting turn as an alien who has taken the form of Karen Allen’s deceased husband. My favorite line comes when Bridges is driving, runs a light and causes a wreck behind him. When Karen Allen yells at him, Bridges replies, “I observed you very carefully. Red light, stop. Green light, go. Yellow light, go very fast.”
12:15 a.m. — Good Morning Vietnam: Sure, it was Robin Williams basically improvising on camera, but I preferred him to that year’s winner, Michael Douglas in “Wall Street.”
MONDAY
10 a.m. - The Informer: Victor McLaglen won an Oscar as a guilty man harboring a secret in this early John Ford film. Lots of people have seen a little bit of this without even realizing it: It’s the movie that’s playing on TV in “The Departed,” just before DiCaprio shoots a man in the leg, if I recall correctly.
3:45 p.m. = Stalag 17: One of Billy Wilder’s lesser movies, which is to say it’s merely very good instead of indisputably great. Holden was deserving of his Oscar, however.
6 p.m. - The Philadelphia Story: Many people say that Stewart won the Oscar for this movie as a makeup for losing for “Mr. Smith.” That may be, but I prefer not to imply that this performance was less than deserving. He and Cary Grant and Katharine Hepburn make for a heck of a triple threat.
10 p.m. - Tender Mercies: Robert Duvall won his Oscar as a country star in this quietly moving film by Bruce Beresford, who went on to direct “Driving Miss Daisy.”
1:30 a.m. - Network: Peter Finch was his Oscar posthumously for his famous “mad as hell” turn, but the best feature of this movie is its screenplay, which was nothing short of prophetic in how it forecast sensationalized news and reality TV.
While we’re on the subject of Best Actor, I’ll tease my blog topic for tomorrow. What are the best movie performances given by a lead actor and a lead actress? I’ll let you all ponder that until I reveal my answer. But if you have a candidate already, feel free to name him/her now.
Permalink | Comments (1) | Categories: Movies on TV
Home (Re) Viewing: Capes and Flags of our Fathers
Today’s best video releases look back at two very different pieces of history.
Flags of Our Fathers: Clint Eastwood’s World War II drama was supposed to be the heavy hitter at the Oscars this year. Instead, its companion movie, “Letters from Iwo Jima,” took the slot - and deservedly so. “Flags” is certainly a very powerful in places, particularly in telling the story of Ira Hayes (Adam Beach), a Native American trooper scarred by his experience. Unfortunately, the film is not as good as it should have been, with a jarring flashback structure and an annoying tendency to overstate What it Means. For the best experience, I would wait until the inevitable box set with the greatly superior “Letters,” which details the experiences of the Japanese soldiers. That’s in theaters now. GRADE: B. Buy it/Rent it
Hollywoodland: This movie got the story of Superman’s death half-right. The scenes with an excellent Ben Affleck as George Reeves, who played Superman on TV, are quite compelling, and Diane Lane adds more than a little zest as his adulterous paramour. However, the section with Adren Brody as a detective trying to solve the mystery of Reeves’ death (was he murdered?) flags because Brody’s character is so steadfastly unappealing. GRADE: B Buy it/Rent it
Also out today
Flicka: Alison Lohman, the 20-something that specializes in playing or looking like a teenager, stars in this horse drama. Buy it/Rent it
The Grudge 2: Does anyone still find this series scary? Buy it/Rent it
Running with Scissors: This movie version of the Augusten Burroughs memoir was supposed to be an Oscar contender too - until critics cut it to shreds. Buy it/Rent it
From the Catalog
The Clock: Just in time for Valentine’s Day comes the DVD release of one of my favorite romances. Judy Garland is wonderful in one of her rare non-singing roles as she falls in love with a soldier on leave in New York (Robert Walker, who’s strikingly effective here, especially when you remember him as the villain in “Strangers on a Train.”) The movie is also a lovely Valentine to New York City, even though it wasn’t shot there. Vincente Minnelli (“Meet Me in St. Louis”) directed. GRADE: A Buy it/Rent it
Going My Way: This beloved chestnut is still entertaining because it’s fun to watch Bing Crosby match wits with Barry Fitzgerald as priests with different philosophies. (Both won Oscars, and were deserving). But the Best Picture of 1944? Maybe at the time it seemed so, but today it doesn’t hold a candle to “Double Indemnity,” “Meet Me in St. Louis” or “The Miracle of Morgan’s Creek.” GRADE: B+ Buy it/Rent it
Permalink | | Categories: On Video/DVD
So what was the best/worst Super Bowl ad? Vote!
Well, Indianapolis won the game, so the obvious question is, Peyton Manning, what are you gonna do next???
Uhhhh … I mean, which Super Bowl ad was your favorite? Or least favorite, for that matter?
My three favorites were, in no particular order
A): The Bud Lite “Smacking” ad
B) The Coca Cola “what’s really in the machine” spot
C) The Robert Goulet ad.
No, I’m NOT nominating the K-Fed ad, because the surprise has been ruined for weeks, and besides, should K-Fed really win for anything? C’mon now!
My least favorite ads:
Go Daddy: Hey, I like seeing cute babes as much as the next guy, but that ad looked like it was dreamed up by a drunk Hooters customer.
Flomax: Even the NAME sounds nasty! I mean, just what is flowing?
Don’t answer that! But do tell me you favorites and least favorites. Here are the ads in case you missed them.
Here’s a poll you can vote in too:
[an error occurred while processing this directive]I will be back live blogging again on Oscar night, Feb. 25. Save the date!
Permalink | Comments (24) | Categories: Super Bowl Commercials
Super Bowl Ads: Oh, Snapple
Snapple: Amusing commercial with the wise man and ECGC. Reminded me of MIke Judge’s film “Idiocracy” and the belief of the dumbed-down residents of the future that crops should be watered with something like Gatorade, because “it’s got electrolytes, which plants crave!”
See, toldja everything reminds me of a movie - even one no one had the chance to see.
Permalink | Comments (1) | Categories: Super Bowl Commercials
Super Bowl Ads: Hannibal Sinking
Hannibal Rising: The year’s most electrifying thriller? If that’s true, I’ll eat my own tongue with a nice chianti.
Permalink | Comments (1) | Categories: Super Bowl Commercials
Super Bowl Ads: The Finger!
Flomax: Do they REALLY have to run these gross medical ads in the second half? That don’t go down well with pizza and wings, or Kung Pao Chicken, which is what I’m eating.
E-Trade: OK, how many of you out there wondered what ELSE you can use one finger for? (Raises finger … um, hand)
Permalink | | Categories: Super Bowl Commercials
Super Bowl Ads: Virtual football
Budweiser Select: Imaginative spot with the “virtual ” football game. Brought to mind that war game in the Bond movie “Never Say Never Again.” Yes, EVERYTHING reminds me of a movie.
Permalink | | Categories: Super Bowl Commercials
Super Bowl Ads: King Crab
Bud: Well, that spot just gave new meaning to the term King Crab. Clever and funny.
Nothing else in that break really registered.
Permalink | | Categories: Super Bowl Commercials
Robert Goulet: Comedian
Emerald: Wow, Robert Goulet has never been funnier! (OK, that’s not saying much, but ya gotta take what you can get.) Not sure what that company was, but they just scored big. The ads in the second half are better.
FedEx: Cute ad, but I’m STILL mad at them for using EUROPE as a soundtrack. Puke!
Nationwide: From Fed-Ex to K Fed-ex! That’s either an incredible coincidence, or someone is being a smart aleck! How bout it, fast food employees, are you offended?
Permalink | | Categories: Super Bowl Commercials
Super Bowl Ads: Coke - It’s the real insides
Coke: NOW we’re talking! There’s an ad with Super Bowl production values! Great visuals and funny concept! But I wonder what happens in those pop machines where you get a Coke from a Pepsi machine? Are they a lot meaner then?
Meet the Robinsons: Disney’s latest animated movie was retooled by Pixar after they took over, but this ad is making it look more frenetic than it probably really is. Not a good sign.
Bud: Another funny ad with the Apes. Reminded me of a “Far SIde” cartoon. Bud Lite seems to be faring best so far.
Revlon: Sheryl Crow pimps cosmetics. May be the least frilly commercial of its kind I’ve ever seen. But that’s what I dig about Sheryl.
Careerbuilder.com: In the words of Steve Martin, “What the heck WAS that?” These dot-com ads make less and less sense all the time.
Permalink | | Categories: Super Bowl Commercials
Halftime report: Which ad is the best?
Well, geez. Most of these ads have been as soggy as the field in Miami. They’re pretty much OK, but most of them don’t seem, well, Super Bowl-ish to me. They just seem like ads for any ol’ game. They’re certainly not worth $2.9 million, or however much ad time costs these days. This may be a rare instance where the game is more interesting than the ads.
Prince was his usual energetic self, and his halftime show was pretty slick (rim shot). The rain worked to his advantage in two ways. First, it made the idea backdrop for “Purple Rain,” and the water droplets on some of the cameras made his show look even trippier than usual!
So far my favorite ad was the Bud Lite “smacker” spot. What are your favorites so far?
Permalink | | Categories: Super Bowl Commercials
Super Bowl Ads: Wild dogs, I mean Hogs
WIld Hogs: Sigh. THIS is what we get for one of the few Hollywood ads? I need to see that like I need a whole in my head - besides my mouth that is. David Fincher’s “Zodiac” comes out that weekend. That choice is a no-brainer, just like “Wild Hogs.”
Permalink | | Categories: Super Bowl Commercials
Super Bowl ads: Smack that ad up
Bud Lite is doin well! Another winner with that “smacker” of an ad!
Beat Your Risk: Well, that’s certainly a dramatic way to illustrate a heart attack. Richard Pryor did it better tho. “Don’t breathe no more.” What? “I said don’t BREATHE no more!” OK, OK I won’t breathe no more!
GM: That’s a GM robot? As sad as it was, I thought it might work for Ford.
Permalink | | Categories: Super Bowl Commercials
Super Bowl ads: Mediocre start
Dorito’s: Blah, that ad was a miss. I’m fairly aching for a date, but if a clerk flirted with me like that, I’d run for the hills.
Nothing truly great so far. The only ads that made me laugh out loud were the two Bud Lite ads and the Doritos ad with the accidents. Am I picky, or is this a pretty mediocre start?
Permalink | | Categories: Super Bowl Commercials
Super Bowl ads: Bud: You Dirty dog!
Budweiser: Just wait till that dog in the parade tries to shake off all that dirt.
Grammy Ad: One of my favorite bands, the Police, is reuniting. Does anyone else think it sounds like they’re singing “Rock Sand” on their first big hit?
Put out the red light …
Permalink | Comments (1) | Categories: Super Bowl Commercials
Super Bowl ads: Go Daddy/Coke
Go Daddy: So what exactly does Go Daddy do again? Couldn’t tell from that ad, which makes them look like a laddie mag.
Coke: Hey, I’ve seen this ad at the movies (the nice Grand Theft Auto type dude)! I’m feeling at home after all!
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Super Bowl ads: Bud en Espanol
People who love cars love Chevy. But don’t sing too well.
Bud Lite: Wonder what Butler County Sheriff Richard Jones thinks of that Hispanic Bud Light ad?
Permalink | | Categories: Super Bowl Commercials
Brokeback Snickers
Snickers: I wish I knew how to quit you!
Pride: Hm, this year’s inspiring true-life sports movie is about swimming. Wonder if they’ll ever tackle synchronised swimming?
Permalink | | Categories: Super Bowl Commercials
Ford/Fed Ex: Ugh!
Ford: So if I buy a tundra, I can safely drive around cliffs? Wow!
FedEx: UGH! 500 demerits to them for using the music from Europe’s “The Final Coutdown!” Paging UPS!
Permalink | | Categories: Super Bowl Commercials
Sierra Mist Pow
I don’t drink Sierra Mist much. And I won’t with ads THAT silly. Or especially if someone’s going to karate-chop me for it!
Permalink | | Categories: Super Bowl Commercials
Funny start!
Pair of funny ads by Bud Light and Dorito’s. One just hopes one hasn’t drunk too much Bud Lite when playing THAT version of Rock Paper Scissors.
And wow, Doritos a traffic hazard! I guess that’s believable, especially if you mix it with Mountain Dew.
Permalink | | Categories: Super Bowl Commercials
More ads than show!
Norbit: Ah, Eddie Murphy is already on a quest to prove his Oscar nomination for “Dreamgirls” was a fluke.
Seems like the kickoff show is more ads than show. My finger are hurting already.
Sorry Blockbuster, but Netflix rules, cos they carry real versions of movies, not censored ones.
The music from “Requiem for a Dream” on an ad for the game. Maybe I was wrong, movies are everywhere!
Permalink | | Categories: Super Bowl Commercials
McDonald’s and Ghost Rider: Junk Food
Anyone recognize the voice in that McDonald’s ad? That’ s Paul Newman, reminding everyone that McDonald’s is a corporate behemoth with a heart!
Wow, another movie ad, for “Ghost Rider,” from the director of “Daredevil.” And it’s not being screened for us critics. Should I be worried? It goes well with McDonald’s though: both are junk food.
Permalink | | Categories: Super Bowl Commercials
Citibank shoots, scores
Did the Citibank ad remind anyone of the horses and coconuts gag in Monty Python and the Holy Grail?
Ah, our first movie ad, for “Shooter” with Mark Wahlberg. Looks pretty nondescript, just like most of Antoine Fuqua’s movies. He also made “King Arthur” and “Tears of the Sun.”
Permalink | | Categories: Super Bowl Commercials
Almost kickoff time!
It’s just another ad-mad Sunday, wish it was Monday …
OK, so Prince I’m not. To see the real deal, you’ll have to wait for the halftime show.
It’s almost time to live-blog for the Super Bowl commercials, as promised, and I can’t help but grin at the situation. On the one hand, it’s fitting that I do this, because I could care less about the football game. I haven’t watched the Super Bowl for the game since …. oh, let me think … maybe the year John Elway finally led the Broncos to a victory?
Usually the Super Bowl ads are fun for me because Hollywood usually previews two or three of their big summer movies …. but wouldn’t you know it, the first year I live blog the commercials, Hollywood takes a breather from the game. Darn the luck!
No matter, though. I’ll just think of the ads as the shortest movies I’ve ever reviewed.
Keep your eye on this space, and make you hit refresh to keep up with the posts. And I welcome your comments to make this even more fun!
So join me just as soon as this psychedelic Cirque De Soleil show finishes. Sounds kinda like a trippy version of Up with People, don’tcha think?
Permalink | | Categories: Super Bowl Commercials
31 Days of Oscar: Feb. 3-6
Turner Classic Movies’ “31 Days of Oscar” rolls on with more cinematography noms/winners, acclaimed foreign language films and great supporting actors.
SATURDAY: CINEMATOGRAPHY
4:45 p.m. — The Longest Day: Some wags like to call this “The Longest Movie,” but this 1962 rendering of the D-Day invasion is still impressive, even after “Saving Private Ryan.”
8 p.m. — Shane: Come back!
10 p.m. — She Wore a Yellow Ribbon: The second part of John Ford’s Cavalry trilogy (in between “Fort Apache” and “Rio Grande” looks great, and the most famous scene - the lightning in Monument Valley - was caught purely by chance. Ford liked to say the director’s job is to “preside over accidents.”
2 a.m. — A Passage to India: The last film by epic director David Lean doesn’t rank alongside his masterpieces “Bridge on the River Kwai” or “Lawrence of Arabia,” but it is fascinating and does look impressive.
SUNDAY: FOREIGN FILMS
8 p.m. - Cinema Paradiso: Giuseppe Tornatore’s ode to cinema set in World War II Italy should be seen by all film lovers. So I intend to watch it.
10 p.m. - The Battle of Algiers: Many say this film about a revolt against the French Foreign Legion gained a new relevance post 9-11.
MONDAY and TUESDAY: BEST SUPPORTING ACTOR
Noon - Sunset Blvd.: Eriich von Stroheim was nominated as the servant who is rather intently devoted to Norma Desmond in Billy WIlder’s superb acidic take on Hollywood.
9:30 p.m. - The Maltese Falcon: Sydney Greenstreet, who later memorably teamed up with Bogart in “Casablanca” earned a nod for his work as Casper Gutman. Some say all his roles that followed imitated this one in John Huston’s directorial debut.
1:30 a.m. - In the Line of Fire: Few people can play creeps as effectively as John Malkovich, who was tapped for playing the shooter here in this crackerjack thriller.
TUESDAY
2:15 p.m. - Treasure of the Sierra Madre: Another John Huston masterpiece. This time he directed his father Walter to an Oscar win. His little dance is unforgettable.
4:30 p.m. - Stagecoach: This prototypical western by John Ford made John Wayne a star, but it was Thomas Mitchell who got the Oscar as the alcoholic Doc Boone.
8 p.m. - The Big Country: You’ll never look at Mr. Holly Jolly Christmas the same way again after seeing Burl Ives as a total lout in this William Wyler western.
1:15 p.m. - Jerry Maguire: Cuba Gooding Jr. has spent plenty of time squandering his talent since winning for this movie, but his exceedingly enthusiastic turn was deserving at the time.
3:45 a.m. - The Last Picture Show: Ben Johnson was terrific as the man who owned the pool hall and the movie theater in a little Texas town with a fading past.
Permalink | | Categories: Movies on TV
Click here. Why? ‘Because I Said So’
Once or twice I year I find myself asking the same thing many of you ask about critics, namely, “What were they thinking?”
Yes, it happens to me too, even though I am one.
Sometimes they upchuck all over a film I actually find fairly entertaining. Last year it was “RV,” this year it’s “Because I Said So,” the new meddling mom and frustrated daughter comedy featuring Diane Keaton and Mandy Moore.
Moore plays a lovelorn girl who just can’t seem to land the right guy, or at least one her mom likes. So Keaton takes it upon herself to write a personal ad for her daughter, personally meeting various men before Moore does.
Two come into play: a musician and father (Gabriel Macht) and a socially well off all-around nice guy (Tom Everett Scott). The mom prefers the latter, and Moore likes him too, but she finds herself more at home around the musician, much to Keaton’s horror. Hijinks and misunderstandings ensue.
Mind you, “Because I Said So” is far from a great movie. In fact, it’s not all that good, I admit. The problem is that it’s a touching drama trapped inside a lame comedy. As is all too common in female-centered romances, this movie overdoses on silly slapstick, like super-speed scenes of rearranging furniture, and bad date montages that play like “American Idol” auditions, only without the lousy singing.
Most egregious of all is the repeated gag of the smooshed cake, which we get a lot of in this movie because Moore’s character is a caterer. “Because I Said So” faithfully follows Roger Ebert’s “Wedding Cake Rule,” which states: “In any movie comedy involving a wedding, the cake will be destroyed.” Sure enough, a decimated wedding cake is the capper gag - and a bad one at that.
And yet I found myself liking the movie in spite of all the obvious gags because the cast sold me. This is certainly not in the upper echelon of Keaton’s career, but her engaging mix of daffiness and vulnerability elevates the film. Moore proves once again that she has more than enough charm and acting chops to carry a movie, and I only hope even better vehicles come her way.
And the strong cast doesn’t stop with the two leads. Whoever decided to cast Lauren Graham and Piper Perabo as Moore’s sisters deserves a gold star, because the women all play off each other extremely well, adding sarcasm and zest when the movie can really use it. Stephen Collins is also fun playing Macht’s dad, who takes a liking to Keaton.
More importantly, “Because I Said So” works because it makes the characters believable, and I rooted for them. Even the men, who tend to be marginalized in these movies, are believable, with neither Macht nor Scott made out to be the obvious dreamboat or ogre.
My fellow critics can play the ogres to this movie all they want, but I won’t join the chorus. At least the leading net reviewer James Berardinelli agrees with me. “Because I Said So” may be piffle, but the actors make it work, even if all those flattened cakes do their utmost to slip them up.
GRADE: B-
Note: Parents should be cautioned about young girls seeing this movie, which features a lot of frank sex talk, including a scene where Keaton and Moore discuss orgasms. It’s a strong PG-13.
Permalink | Comments (2) | Categories: Reviews
TCM’s 31 Days of Oscar
Previously in this space, I have extolled the virtues of Turner Classic Movies, which is not only the best movie channel on TV but the best channel of any sort.
Well, there’s no better time to watch TCM than February, when it features its “31 Days of Oscar” festival. Each day, going through early March, TCM plays a slew of movies that were at least nominated for an Oscar of some sort. Also, every programming day is devoted to winners/nominees in a particular category.
With such an abundance of great movies, it’s awfully hard to go wrong no matter when you watch. But I’d like to help guide you along, pointing out some of my personal favorites, movies I haven’t seen yet with great reputations, or maybe even movies that didn’t deserve the golden guy - “Around the World in 80 Days,” anyone?
So that prefaced, off we go:
TODAY: BEST DIRECTOR
1:30 p.m- La Dolce Vita: I’ve always thought this Fellini film was somewhat overrated, but there’s no denying the power of the imagery, particularly Anita Ekberg in that fountain.
6 p.m. — The African Queen: John Huston was a genius, but often a bit of a nutter as he embarked on risky projects. Here, he took Bogie and the great Kate through the jungles of Africa. The shoot was a trial, but what’s onscreen is a joy.
4:15 a.m. — Interiors: Woody Allen’s follow-up to his Best Picture winner “Annie Hall” was his first drama, indicating he had a lot more on his mind than neurotic love or one-liners.
FRIDAY: BEST CINEMATOGRAPHY
9:45 a.m. — The Third Man: The black and white photography of this peerless British thriller gleams, even when it’s in the sewers.
5 p.m. — Judgment at Nuremberg: Stanley Kramer’s movies haven’t always aged well, but his 1961 film about the Nazi war criminal trials is one of his best.
8 p.m. — Cover Girl: See Gene Kelly dance with himself years before Billy Idol sang about doing it. Rita Hayworth is his flesh and blood partner.
10 p.m. — Funny Face: It’s Fred Astaire and Audrey Hepburn. What else do you need? This is Audrey’s best musical, far exceeding the bloated “My Fair Lady.”
Midnight — To Catch a Thief: Deserved its win just for photographing Grace Kelly to perfection. No woman has ever looked better onscreen than in this movie. Period.
2 a.m. — Black Narcissus: Michael Powell and Emeric Pressburger’s drama about nuns in the Himalayas absolutely deserved its cinematography award. However, their follow-up, “The Red Shoes,” the most ravishing color movie of all time, wasn’t even nominated for its photography. Criminal.
Permalink | Comments (8) | Categories: Movies on TV, Movies on TV, Oscars Sunday Night
