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February 2008
‘The Other Boleyn Girl’ = PBS + romance novel
For certain males, the idea of Natalie Portman and Scarlett Johansson joining forces in a passionate costume drama seems like a dream come true. But here’s the funny thing about dreams: sometimes when they become real, they lose their luster.
Such as it is with The Other Boleyn Girl.
The film wants to be a heavy historical costume drama and a sudsy soap opera, but in trying to be both, the movie is only mildly diverting when it should be riveting.
Rather like Becoming Jane and Shakespeare in Love, The Other Boleyn Girl, based on a novel by Philippa Gregory, takes known historical fact and adds a generous dose of speculation. The story asks, “What about Anne’s less famous sister Mary? What part did she play in Anne’s romance with King Henry VIII?”
In the movie, it turns out that Mary (Johansson) also loved Henry (Eric Bana) and bore him a child after Henry’s initial flirtation with Anne (Portman) went nowhere. Flying into a jealous rage, Anne rebels, driving a wedge between the sisters, until Anne connives her way back into Henry’s arms. To say the least, complications ensue.
The movie begins promisingly, with writer Peter Morgan (The Queen) drawing the characters well and director Justin Chadwick creating a strong sense of atmosphere. Then, the movie takes a bad turn from which it doesn’t completely recover.
Portman has long been one of my favorite actresses, so it pains me to say that The Other Boleyn Girl blunts its impact by miscasting her. It’s not hard to see why Portman would be interested in the part - she has excelled at playing precocious types before, going all the way back to her film debut in The Professional.
However, Boleyn makes the near fatal misstep of asking the audience to hate Anne when she turns against her sister, because the movie clearly sympathizes with Mary. The hatred never takes. Portman relishes playing the role of a vixen, but I couldn’t bring myself to hate her, because Portman is so naturally appealing, making her an unconvincing villainess.
So when the drama gets especially hot and heavy in the third act, it doesn’t register as well as it should. The main reason the film works is Johansson’s performance. She’s also playing somewhat against type as kind of a mousy character, but she turns Mary into a complex and fascinating figure - someone who doesn’t realize how much power she wields.
Johannson makes The Other Boleyn Girl worthwhile, making it clear the movie could have been much more than a Harlequin romance novel masquerading as a Masterpiece Theatre episode.
GRADE: B-
Permalink | Comments (1) | Categories: Reviews
What’s opening/playing Feb. 29?
It’s leap year, although it remains to be seen whether the new movies tomorrow give much cause to leap for joy. However, there are a couple of gems in theaters that deserve some attention.
Opening Friday
The Other Boleyn Girl: Those who have a hankering for cute young actresses will find the teaming of Scarlett Johansson and Natalie Portman to be nothing less than dreamy. For the girls, there’s also Eric Bana (Munich) and Jim Sturgess (Across the Universe). Oh, you mean it has to be about something? It’s the famous story of two sisters vying for the love of King Henry VIII (I am.) Review forthcoming Friday, if all goes as planned.
Penelope: A princess story usually has a princess kissing a frog who becomes a prince. In this movie, Princess Christina Ricci is the one who needs the kiss because she was born with a pig’s snout. Reese Witherspoon co-stars and was one of the producers.
Semi-Pro: For some people, the idea of Will Ferrell playing a goofball basketball player is occasion for squeals of laughter. For others, it’s squeals of terror. Judge for yourself. Key quote from James Berardinelli: “When (Ferrell is) off, he’s like a drunk at a bar yelling loud, unfunny jokes at his equally inebriated buddies … Unfortunately, for Semi-Pro, Ferrell is that guy at the bar.”
Now Playing
Definitely, Maybe: The movie gets a little too caught up in its gimmick of having lead Ryan Reynolds tell the story of his romances to his daughter (Abigail Breslin) then having Breslin guess which is her mom. On the whole, however, this is a smart and winning comedy, helped most of all by three sparkling females: Elizabeth Banks, Rachel Weisz and Isla Fisher. Three gold stars to the casting director. Even Reynolds is less annoying than usual. GRADE: B+
The Spiderwick Chronicles: Much Like last year’s Bridge to Terabithia, this movie keeps most of its best scenes under wraps, gradually revealing itself to be a dazzling, highly imaginative tale. The effects work in particular is outstanding, and I hope the Academy doesn’t forget this movie for next year’s Oscars. If only all movies geared toward kids were this smart. GRADE: A-
Oscar Films
If you want to catch up with the Oscar winners, four of the five nominees will still be in theaters this weekend: Atonement (winner of Best Score), Juno (Best Original Screenplay) , There Will Be Blood (Best Actor/Cinematography) and No Country for Old Men (Best Picture, Director, Supporting Actor, Adapted Screenplay). Michael Clayton, which won Best Supporting Actress, is on DVD.
For those of you who want your copies, or who prefer to wait for the comforts of home (although I highly recommend the theater): No Country is on DVD March 11, Atonement lands March 18, There Will Be Blood April 8 and Juno April 15.
Permalink | | Categories: In Area Theaters
What movies HAVE to be seen on the big screen?
During Oscar night, host Jon Stewart cracked a joke about how great Lawrence of Arabia looked on his iPod with its whopping 2.5-inch screen.
That - and a suggestion from regular reader/commenter SRCputt - prompts me to ask you all: What movies HAVE to be seen on the big screen?
I don’t hesitate for a moment before answering “ANY movie.” As I have made clear on this blog in the past, I am a true believer in the theatrical experience. Any director worth their salt will tell you their movies are meant to be seen in theaters.
I don’t care if a movie is as visually extravagant as Star Wars or as visually plain as Knocked Up. Every kind of movie, no matter what its genre or visual palette is, benefits from a big screen, and even more importantly, the audience.
That means that I also don’t care if your TV at home measures 50 feet across, much less 50 inches. The audience is missing. Sure, you can get a bunch of your family or friends to watch a movie with you, but love them though you may, they just don’t create as powerful a response as a shared reaction between strangers. That’s why last Saturday, I went to AMC Theatres’ Oscar-movie marathon in which they played all five Best Picture nominees back to back to back to back to back - even though I had already seen all of them.
It makes me sad that so many people actively avoid theaters today. I know times are tough, prices are insane and the audiences that do go seem to get ruder by the week. As much as I hate to admit it, home viewing is not only here to stay, it’s probably going to become even more prevalent.
That said, I wish the ratio between home viewing and the cinema weren’t so lopsided. Seems to me most people these days only go out to theaters to catch the big-ticket event movie, like Harry Potter or the big-ticket family film (the annual Pixar entry). Hopefully, the following examples of big-screen must-sees will inspire people to venture out, and then venture into their local cinemas, at least a little more often. Click the jump:
Star Wars (any of them): The trailer for the 1997 re-release of Episode IV said “If you’ve only seen it this way (on TV), you haven’t seen it at all.” Entirely too true.
The Polar Express: As I mentioned in my DVD reviews Tuesday, I saw this movie both in IMAX 3D and in flat 2D. The 3D version, which I saw first, blew my mind. The 2D version was still entertaining, but not nearly as transporting. I really hope a nearby IMAX theater books it again this Christmas.
Rear Window: Grace Kelly only looks more stunning on the big screen, especially in this scene:
But this film is most fun with an audience, especially if some of them haven’t seen it before. You CAN hear people squirm - and it’s fun!
Monty Python and the Holy Grail: It’s no great shakes visually, but I never had more fun with this movie than when I saw it with a bunch of Python nuts who knew it by heart. Besides, laughter times a few hundred is especially potent.
And, because every list must begin and end with this movie:
Lawrence of Arabia: If you’ve seen it on a small screen and thought you didn’t like it, see it in a theater. Even money says you’ll change your mind.
Your turn. What movies have you not truly seen unless you’ve seen them in a theater?
Permalink | Comments (8) | Categories: Moviegoing
Home (Re) Viewing: ‘Beowulf’ in 2D!
It’s a relatively quiet week for DVD releases, but there are still some notable titles hitting shelves today - including one that may play even more differently on the small screen than most.
Beowulf: Robert Zemeckis’ second motion-capture animation movie, after The Polar Express looked tremendous in IMAX 3D. Thing was, the story was a little on the shallow side. Will it hold up on the small screen? If The Polar Express was any indication, the answer will be no. I saw The Polar Express both “flat’ and in 3D, and the flat version wasn’t nearly as good. Only the small screen will tell. Full review: GRADE: B+ (Based on a theatrical 3D viewing).
The Darjeeling Limited: After fumbling with the self-satisfied The Life Aquatic, director Wes Anderson returns to form with this winning, if occasionally meandering film about three brothers (Owen Wilson, Jason Schwartzman, Adrien Brody), taking a train across India to reconnect with their mom. On the DVD, be sure to catch the short “Hotel Chevalier,” which features Schwartzman playing the same character, meeting up with his girlfriend, played by Natalie Portman. It enriches the movie - not to mention it’s a little better than the movie itself. GRADE: B+
Also out today
30 Days of Night: This vampire movie sounded promising, coming as it did from the director of the indie hit Hard Candy. And then the lousy reviews and tepid box office were the proverbial stake through the heart. (My information that this was out last week was incorrect; it’s in stores today.)
The Last Emperor: Bernardo Bertolucci’s film that swept the 1988 Oscars is visually ravishing, and to say even that is to understate the power of this sweeping epic about the last years of China’s monarchy. Previous DVD releases have been reportedly dodgy, so it’s good news that the folks at Criterion have released a new set featuring both the original theatrical version and the extended cut, plus an array of extras. GRADE: A+
Permalink | Comments (2) | Categories: On Video/DVD
What would make you watch the Oscars?
By now, a lot of sponsors, ABC executives and Academy officials are wringing their hands over the lowest rated Oscars in history.
It’s a shame, really. As I mentioned Sunday night, I thought this year’s show was one of their better efforts in a while. That it only ran about 15 minutes over is something of an achievement in itself, considering the seemingly endless marathons of years past.
Still, I can’t say I’m all that surprised. The conventional wisdom holds that you need to have a monster hit in the nominees like Titanic or Lord of the Rings to get monster ratings. This year, the only nominee that was a nine-figure hit was Juno.
So what can be done to improve the show? Nominate more popular movies? Somebody seems to float that idea every year, and it always sounds dumb. What should they have nominated from last year to get more people to watch? Last year’s biggest hit was Spider-Man 3, but you can’t get 50 people to admit they liked the thing. Transformers? I think even its fans would admit it’s not exactly Oscar material. Heck, it couldn’t even win any of its tech nominations Sunday.
I think the only $200 million-plus grosser you could make a legitimate case for is The Bourne Ultimatum. Well, that and Ratatouille, if the Academy had the savvy to nominate an animated film for Best Picture, which they clearly don’t anymore.
Now, I recognize that not everyone is a movie nut, and that there are people that don’t give a rip about the Oscars. Fine. I usually don’t give a rip about the Super Bowl myself. I heard this year’s game was pretty good, but I didn’t know, because I was too busy cavorting around Disney World. Even with the blisters I got, I still had more fun there than I would have watching the game.
Still, I don’t think that many people are that actively disinterested in the Oscars. When you get down to it, the problem was that this year’s slate wasn’t widely seen. At least that’s my guess. So let me ask you. If you didn’t watch, why not? And even if you did, what do you think could/should be done to get more folks to watch?
Permalink | Comments (5) | Categories: Oscars Sunday Night
So what did you think of the Oscars?
Now that another Oscar night has come and gone, I come away feeling very satisfied with the winners, and with the telecast as a whole. The show had many clever and laugh out loud moments and moved along at a very good clip. Even the dreaded montages were fun this year.
This is quite an achievement, considering producer Gil Cates has slapped together some pretty BORING slogfests. Who knows, maybe in a perverse sort of way, the strike spurred everyone on to greater work. I thought Jon Stewart did much better his second time around.
Favorite winning moment: When the songwriters of “Once” won.
Favorite speech: Tilda Swinton, brilliantly improvising when she clearly didn’t expect to win.
Favorite unscripted moment: Stewart bringing Marketa Irglova back out to get her thank-yous in after she was unceremoniously cut off.
Best techie win: “The Bourne Ultimatum” for editing.
Biggest laugh: The wonderfully ridiculous montage of binocular/waking up from a nightmare shots.
Cloud nine moments: Whenever Amy Adams was on, of course! Which automatically makes her the Best Dressed!
For the record, I scored 13 out of 20 on my predictions, with which I am fairly well pleased. Among the top 6 categories, I missed only Best Actress; further down the line, I also dropped Art Direction, Costumes, Visual Effects and the two sound awards. I was hurt by the fact that I predicted Transformers would win all three of its categories and it got none. Up yours, Michael Bay! (Not his fault, really, I just like saying that.) But since I did very well above the line, and since I thought Bourne deserved to win for sound more than the robots, I’m feeling quite fine.
And hey, look, I got through the whole thing WITHOUT saying “Honest to blog!” Whoops!
So what did you think of the show? And the winners? Any unexpected surprises? Disappointments?
Permalink | Comments (13) | Categories: Oscars Sunday Night
Best Picture: No Country for Old Men
And inevitably, given the way the awards have gone, “No Country” picks up the big prize - and I have less than no problem with that. I saw it last night. In fact, I saw ALL the nominees again last night - more on that later - and “No Country” still packs a heck of a punch, even though I like “There Will Be Blood” just a bit more. No complaints in this corner.
Permalink | Comments (7) | Categories: Oscars Sunday Night
Best Directors: The Coens
And the greatest director alive presents the Best Director award to the greatest directing team alive. They had it comin. - in the best possible way.
Permalink | Comments (2) | Categories: Oscars Sunday Night
Best Actor: Daniel Day-Lewis
Helen Mirren can make even these silly nomination speeches sound cool. Very good use of clips here too.
And one of the 20 best performances of all time gets the prize it so richly warrants. And to give you an idea of how amazing this performance is, look at how charming and soft-spoken he is - 180 degrees and a few planets away from Daniel Plainview.
Amazing man.
Permalink | Comments (1) | Categories: Oscars Sunday Night
Best Orignal Screenplay: Juno
And Diablo Cody wins her Oscar for coming up with creative uses for Thundercats and iPod guns n such, which I feel OK about. I loved Juno, putting it in my runner-up 10 Best list, but I would have preferred “Ratatouille” or “Michael Clayton” here.
Permalink | Comments (2) | Categories: Oscars Sunday Night
Best Documentary Feature: Taxi to the Dark Side
In something of a surprise, the highly acclaimed “No End in Sight” doesn’t win. Since that’s the only nominee I saw, I can make no comment. Great sentiment in the winner’s speech, though.
Permalink | | Categories: Oscars Sunday Night
Best Documentary Short
VERY canny move getting the troops to announce the nominations. The winners certainly are happy and moved. What do you know, it’s a documentary from HBO, which rules the roost in this category.
Permalink | | Categories: Oscars Sunday Night
Best Score: Atonement
Aw, gee, the Oscar didn’t try to duplicate the typewriter sound that I’m sure got the score for “Atonement” its award! Excellent work.
Permalink | Comments (1) | Categories: Oscars Sunday Night
In Memoriam
As expected, Heath Ledger caps the in memoriam reel, and gets a lot of applause, as did Deborah Kerr, Suzanne Pleshette and Ingmar Bergman. I was surprised at how little Betty Hutton got.
Permalink | | Categories: Oscars Sunday Night
Best Cinematography: There Will Be Blood
Any one of these winners would have been fine by me, and Elswit is one of the very best there is. He has the distinction of shooting two of the nominees this year: There Will Be Blood and Michael Clayton. Very classy of him to bring up art director Jack Fisk.
Still, I do feel a little sad for the double-nominated Roger Deakins, who goes home without a trophy again. Someday, Roger, someday …
Permalink | Comments (1) | Categories: Oscars Sunday Night
Best Song: Falling Slowly! YESSSS!
I knew they would win, but I am still DELIGHTED at their win. This is GREAT! For all of you out there who haven’t seen the wonderful “Once,” SEE IT AS SOON AS POSSIBLE.
Only bummer note: Why couldn’t they have given Marketa at least a few seconds to speak? Producer Gil Cates, you SUCK for rushing people through the speeches.
But I’m still happy!
ADDENDUM: Kudos to Jon Stewart or whomever was responsible for bringing Marketa back out to have her say. Her thank-yous were lovely.
Permalink | | Categories: Oscars Sunday Night
So Close from Enchanted
I love the film, but not this song. Very bland and boring kissy-face ballad that all too often wins. I liked the scene in the movie because it had Amy and Patrick Dempsey. That number didn’t. Zzzz
Permalink | | Categories: Oscars Sunday Night
Best Foreign Language Film: The Counterfeiters
Most of you don’t care about the foreign language award. Heck, this year, I didn’t even care about it. They botched the nominees by excluding or not nominating “Four Months, Three Weeks and Two Days,” “Lust, Caution,” and “Persepolis.”
“The Counterfeiters” wins, as predicted. When in doubt, go for The Holocaust films.
Permalink | | Categories: Oscars Sunday Night
Honorary Oscar to master art director Robert Boyle
Indeed, many people, maybe even most people, don’t understand what art direction is. Really, all you need to know to understand that Boyle deserves this award is that he was Hitchcock’s regular man.
True, looking at his mockup of Mount Rushmore from “North by Northwest” does the trick too. Well done, Mr. Boyle, and congratulations.
Permalink | Comments (2) | Categories: Oscars Sunday Night
Best Editing: The Bourne Ultimatum
YAY! “Bourne Ultimatum” wins the award I REALLY wanted it to win! That was an AMAZING job of editing.
That means “Bourne” has swept all three awards it was up for! I say again, YAY!
Permalink | | Categories: Oscars Sunday Night
Falling Slowy from Once
From my favorite from last year, Glen Hansard (formerly a Commitment) and Marketa Irglova (to whom Hansard is committed in real life.) Pardon while I swoon again ….
LOVELY performance. Given the reaction from the audience, I should be very surprised if these two don’t one.
Only quibble - what was with that dumb camera swoop into the orchestra pit? Nobody cares about these guys, with all due respect.
Permalink | Comments (1) | Categories: Oscars Sunday Night
Best Actress: Marion Cotillard
Wow, they’re giving one of the big ones out early! Guess they really must be trying to keep viewers on board throughout.
So is it longtime presumed favorite Julie Christie?
No! It is Marion Cotillard, who really was superb as Edith Piaf. If only the film were as good as she.
Love these genuine, excitable, speeches. She clearly wasn’t expecting it.
Also love the grimace on Cate’s face when they played her very loud clip.
Permalink | | Categories: Oscars Sunday Night
Best Sound Editing/Mixing
Guess they really didn’t want Transformers to win. Poor Kevin O’ Connell, whose been nominated dozens of times, gets stuck empty-handed again, but I’ll be honest …. I have NO problem with Bourne winning these both. And it’s much nicer to hear Paul Greengrass being thanked rather than Michael Bay.
Permalink | | Categories: Oscars Sunday Night
Enchanted: That’s How You Know
And now, a performance by my second favorite Broadway actress, whom I had the honor of meeting when I went to visit my first favorite Broadway actress! (Yup, that’s me. She honors me!) :)
I would have rather seen Amy here, but Ms. Chenoweth is a more than acceptable sub … and given how nervous Amy seemed during her number, probably a good idea, actually. Nice approximation of the number from the movie, my favorite scene of ANY sort from last year.
Permalink | Comments (1) | Categories: Oscars Sunday Night
Best Adapted Screenplay: The Coens
And the Coens not only win the Oscar here, but have a hilarious little bit in the list of nominees!
Kudos to them, they will be back … tonight!
Permalink | Comments (1) | Categories: Oscars Sunday Night
Best Supporting Actress
And here’s the first real race of the night. Toughest of all the categories to predict easy.
And Ms. Swinton is a LITTLE stunned! She shouldn’t be …. she was excellent.
Terrific, funny, heartfelt speech. Best moment of the night so far.
Permalink | Comments (1) | Categories: Oscars Sunday Night
Best Animted Short
Amusing little bit with Jerry Seinfeld’s “Bee Movie” character. Better than the film itself, actually.
“Peter and the Wolf” wins. Mm. I was kinda hoping for “I Met the Walrus,” cos it has to do with the Beatles, but, oh well.
Permalink | | Categories: Oscars Sunday Night
Best Live Action Short Film
I cannot comment on this one, because I have seen none of these films. Nice to see Owen Wilson out n’ about after his recent struggles, though.
Permalink | | Categories: Oscars Sunday Night
August Rush: Raise it Up
Suddenly I get the feeling I would have rather just listened to Keri Russell talk the whole time.
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Best Supporting Actor
I trust they’re going to do these montages before all the awards. Good idea, actually.
Javier Bardem, coooome and get it!
WELL-deserved! Put your coins away, everybody!
Permalink | Comments (1) | Categories: Oscars Sunday Night
Best Art Direction
Well, my prediction average is starting to flail … I had predicted “There Will Be Blood” here, but that’s OK. Dante Ferretti, one of the very best designers in the biz, did a remarkable job on “Sweeney Todd.”
Permalink | | Categories: Oscars Sunday Night
Best Visual Effects
Goes to The Golden Compass! Wow! The least spectacular of the three noms! Well, at least it keeps Michael Bay’s name out of the Oscars for now.
Suddenly I don’t feel so confident it will win the sound awards….
Permalink | | Categories: Oscars Sunday Night
Happy Working Song … ah, Amy….
And now, let me drop all pretense at objectivity and professionalism and SWOON at Amy Adams!
Interesting that they did it absolutely straight without any pretense at a production number. Amy seemed nervous, but she’s still very charming. Movie’s out on DVD March 18, folks!
Me n’ Amy …
Permalink | Comments (1) | Categories: Oscars Sunday Night
Best Makeup
La Vie en Rose is the winner. MOST deserved. Marion Cotillard’s transformation into Edith Piaf was quite remarkable. She COULD upset in actress.
Permalink | Comments (1) | Categories: Oscars Sunday Night
Best Animated Film
Kudos to Steve Carrel for his clever rejoinder to Stewart! LOVED it!
And the winner is the VERY deserving “Ratatouille,” which I now know how to spell without looking! Tres bien!
Permalink | Comments (1) | Categories: Oscars Sunday Night
Our first montage
Recapping Oscars 80 years … pretty predictable assemblage of clips, but as far as these go, not too bad, I actually didn’t cringe too hard. Now let that PLEASE be the ONLY one.
Permalink | | Categories: Oscars Sunday Night
Best Costumes
Interesting, kicking off the show with a tech category instead of an acting category.
And the winner is Elizabeth the Golden Age - look folks, the costumes are lush, but … no. I think I would have preferred any of the other nominees. I’d predicted the much better “Atonement.”
Permalink | Comments (1) | Categories: Oscars Sunday Night
Jon Stewart’s monologue
A bit of a mixed bag. Some hits, some misses. The best line was the one on Norbit: “Too often the Academy ignores movies that aren’t good.” See the Golden Razzies for counterpoint.
Also loved the line on the failing Iraq movies … “We cannot let the audience win.”
“Normally if we see a woman or a black president, the asteroid is about to hit the earth.” CLEV-er!
Overall, not too bad. I still miss Steve Martin. And Billy Crystals tunes.
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THAT was the opening?
Shoot, if I knew you could have produced the opening on an Apple iBook, I would have taken a shot at it!
Permalink | | Categories: Oscars Sunday Night
Call it morning sickness at night.
If I hear “Juno” referred to as the “little movie that could” one more time, I’m going to be the little critic that could barf.
Permalink | Comments (1) | Categories: Oscars Sunday Night
Miley is cute, but ….
…. does having a hit 3D concert movie really qualify you for this show?
Permalink | Comments (1) | Categories: Oscars Sunday Night
The red carpet on the way in
Kudos to George Clooney for having the keen sense of humor he always has ….
“And of course it’s by a French designer.” “Edith Piaf died before you were even born” Oy … there go 50 of my brain cells already …. one wonders if being vapid is a pre-requesite for doing red carpet interviews for ABC. In other words, if you answer any of their questions correctly, you don’t get the job.
Permalink | Comments (4) | Categories: Oscars Sunday Night
Octogenarian Oscars!
Happy Birthday Oscar! And they’re off to a rip-roaring start by including Amy Adams among their first shots! Preeeeeeety!
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Reminder: Oscar live-blogging at 8 PM!
Hey folks,
The Oscar live blog will be coming up in about 45 minutes on this site. I would live blog the Barbara Walters special, but commenting on the interview with Miley Cyrus AKA Ms. Montana would be just too easy, and would open me up to disparaging comments in ALL CAPS from outraged Hannah fans.
So I’ll just sit back until the show starts. Knowing the Oscars, odds are about even the opening will give me something to be sarcastic about.
Till then!
Permalink | Comments (2) | Categories: Oscars Sunday Night
What are your favorite moments from the Oscars?
Now that I’ve laid out my predictions (don’t forget the live blogging here at 8 p.m. Sunday), it’s time for an Oscar query that’s a bit more fun. What are your favorite moments from the Oscar TV shows?
I usually have a hard time picking favorites, but in this case, it’s beyond easy: Stanley Donen’s acceptance speech for his Lifetime Achievement Award at the 1998 ceremony.
BEST
ACCEPTANCE
SPEECH
ANYWHERE
EVER.
Actually, that YouTube clip cuts out most of Donen’s actual speech I can’t remember the whole thing verbatim, but I do recall that he name-checked many of his colleagues and said “”You show up—and stay the hell out of the way. But you gotta show up or else you can’t take the credit and win one of these guys.”
And I also recall that when Scorsese handed Donen his statue, Donen said, “Marty, it’s backwards. I should be giving this to you.” Too true.
Your faves?
Permalink | Comments (1) | Categories: Oscars Sunday Night
Oscar Predictions: All in one spot
Now that I’ve covered the major categories for the Oscars, it’s almost time to consider the other categories. But before I do that, let me recap the majors, so you’ll have all the predix in one place. Check on the hyperlinks for full analysis and to cast your vote in our polls
BEST PICTURE: No Country for Old Men
BEST DIRECTOR: Joel and Ethan Coen, No Country for Old Men
BEST ACTOR: Daniel Day-Lewis, There Will Be Blood
BEST ACTRESS: Julie Christie, Away from Her
BEST SUPPORTING ACTOR: Javier Bardem, No Country for Old Men
BEST SUPPORTING ACTRESS: Tilda Swinton, Michael Clayton
Before I move on to the remaining categories, an announcement: As I have done for the past two years, I will be live-blogging the ceremony. Check back here at 8 p.m. Sunday night, and keep your cursor on the refresh button!
As the used to say on Gilligan’s Island = and the rest:
BEST ORIGINAL SCREENPLAY
Juno
Lars and the Real Girl
Michael Clayton
Ratatouille
The Savages
WILL WIN: I keep hearing about this Juno backlash, but ultimately I just don’t believe it will be effective enough to unseat the favorite in this category, a film a lot of people love - and that’s a quality that should never be underestimated.
SHOULD WIN: Ratatouille. For a while, it looked like even Pixar wasn’t going to be able to sell the idea of a rat as a French chef, until genius Brad Bird worked his magic on it and saved the project brilliantly.
BEST ADAPTED SCREENPLAY
Atonement
Away from Her
The Diving Bell and the Butterfly
No Country for Old Men
There Will Be Blood
WILL WIN: I’ve vacillated between No Country and Blood, but I’m going with my original choice, No Country. It’s entirely possible the Academy may want to give an award to Paul Thomas Anderson, because the Coens already won a writing Oscar for Fargo, and they’re going to win director. On the other hand, I’m not convinced that voters think about their choices as hard as we analysts do, and I believe No Country will make a general sweep, with an exception here and there. It also helps that a number of voters probably will have read Cormac McCarthy’s novel more recently - certainly more so than Upton Sinclair’s Oil, on which Blood is based. And No Country did win the Writer’s Guild prize.
SHOULD WIN: That said, I think Blood deserves the prize because Anderson took a small section of the novel and adapted it freely into something all his own.
BEST ORIGINAL SCORE
Atonement
The Kite Runner
Michael Clayton
Ratatouille
3:10 to Yuma
WILL WIN : I think voters will be hard-pressed not to vote for Atonement. That typewriter as percussion is remarkably distinctive.
SHOULD WIN: Ratatouille, for its inventive work that at times actually has the tempo of a rat scampering around.
BEST SONG
“Falling Slowly” from Once
“Happy Working Song” from Enchanted
“Raise It Up” from August Rush
“So Close” from Enchanted
“That’s How You Know” from Enchanted
WILL/SHOULD WIN: Enchanted’s multiple nominees will cancel each other out, allowing the achingly beautiful song from Once to win.
ANIMATED FILM
Persepolis
Ratatouille
Surf’s Up
WILL/SHOULD WIN: Ratatouille, although a win by the bold, unique Persepolis would not shock me.
DOCUMENTARY
No End in Sight
Operation Homecoming: Writing the Wartime Experience
Sicko
Taxi to the Dark Side
War/Dance
WILL/SHOULD WIN: No End in Sight, for a view of the Iraq war that’s impressively clear-eyed, a quality all too rare in the debate these days.
FOREIGN LANGUAGE FILM
Beaufort
The Counterfeiters
Katyn
Mongol
12
WILL WIN: When in doubt, go with the Holocaust film: The Counterfeiters.
SHOULD WIN: Darned if I know. The Academy botched the selection process, keeping many presumed favorites out with their arcane rules. Time for reform.
ART DIRECTION
American Gangster
Atonement
The Golden Compass
Sweeney Tood
There Will Be Blood
WILL/SHOULD WIN: Blood, for its rare trick of taking a film set largely outdoors and doing briliiant design work on the landscapes
CINEMATOGRAPHY
The Assassination of Jesse James by the Coward Robert Ford
Atonement
The Diving Bell and the Butterfly
No Country for Old Men
There Will Be Blood
WILL WIN: Roger Deakins shot both No Country and Assassination, and the latter will siphon away the “It’s pretty” voters. allowing the sterling work by Robert Elswit on Blood to take the prize.
SHOULD WIN: Any one of these winners would be deserving; this is an outstanding list. But the dazzling subjective camerawork on Diving Bell is most crucial to the success of the film.
EDITING
The Bourne Ultimatum
The Diving Bell and the Butterfly
Into the Wild
No Country for Old Men
There Will Be Blood
WILL/SHOULD WIN: Conventional wisdom would dictate the Best Picture winner, but No Country’s Roderick Jaynes is a pseudonym for the Coens, and I think many voters know that, so the award will go to Bourne for its dazzling assemblage of complex action scenes.
COSTUMES
Across the Universe
Atonement
Elizabeth: The Golden Age
La Vie en Rose
Sweeney Todd
WILL/SHOULD WIN: British period pieces often rule the roost here, and those images of Keira Knightley in that green dress are likely to stick wih voters, I think.
MAKEUP
La Vie en Rose
Norbit
Pirates of the Caribbean: At World’s End
WILL/SHOULD WIN: La Vie en Rose. Easy call. I don’t think the Academy will fell inclined to vote for the other two films, which are not exactly well liked.
VISUAL EFFECTS
The Golden Compass
Pirates of the Caribbean: At World’s End
Transformers
WILL/SHOULD WIN: I thought Transformers got overrated as a whole, but its effects work was seamless and spectacular. Hang on to your hats, folks. Michael Bay is going to get thanked at the Oscars.
SOUND EDITING
The Bourne Ultimatum
No Country for Old Men
Ratatouille
There WIll Be Blood
Transformers
WILL WIN: The sound editor on Transformers was Kevin O’Connell, the biggest Oscar bridesmaid of them all. He’s been nominated 20 times and has never won. I think voters know his story by now, and the fact that he edited the loudest film can only help. O’Connell finally has the prize.
SHOULD WIN: Blood’s sound editing had the most impact on me, particurly in how the loud passages made a very strong impact after the quiet ones.
SOUND MIXING The Bourne Ultimatum
No Country for Old Men
Ratatouille
3:10 to Yuma
Transformers
WILL WIN: I’m guessing voters will simply check Transformers in both sound boxes.
SHOULD WIN: Ratatouille, for its enveloping soundscape that excellently captured the ambiance of a kitchen.
Now - why am I right or wrong? Who will win? Who should?
Permalink | Comments (4) | Categories: Oscars Sunday Night
The toughest Oscar predix: The actresses
For my final round of major category Oscar predictions, I’ve saved the toughest calls for last: the ladies. Many people think Best Actress is an easy pick, but I’m not quite so convinced. And then there’s Best Supporting Actress, which is the true wild card of the night.
In case you missed em, click back on my Best Picture/Director and Actor/Supporting Actor predictions.
Candidates are listed from least to most likely to win.
BEST ACTRESS
Cate Blanchett, Elizabeth: The Golden Age: With all do respect to the great Cate, we can ace her out right away. She was indeed the best thing about the film, but the film itself was as dopey as a marijuana crop. She’s a better bet in Supporting Actress, where she’s also in contention, so this was a wasted nomination.
Laura Linney, The Savages: I wouldn’t say Linney has no shot at winning; she’s extremely well-liked, and she’s overdue for recognition. However, The Savages itself hasn’t racked up that much acclaim, so Linney just won’t have enough momentum. She’ll get her prize sometime, just not now.
Marion Cotillard, La Vie en Rose: The French actress has a coterie of passionate admirers, and I can see why. She excelled at playing Edith Piaf, and her physical transformation was nothing short of remarkable. Here’s how she normally looks:
And here’s how she looked late in the film:
Still, it’s very rare that foreign actors get these prizes; one has to be a legend, or the film has to be a huge hit. Neither is the case here.
Ellen Page, Juno: The rising young star has become the “it” girl of the season, and the Best Director nod for Juno tells me support for the film is strong, despite any supposed backlash. If enough voters fall for the film, she could very well win, Still, Page has most of her career ahead of her, and the role may seem a little too offbeat for some. Which is why I’m ultimately going with …
Julie Christie, Away from Her: The well-loved veteran has picked up two armloads of percursor prizes, and the performance is easy awards bait. with Christie gracefully and not piteously playing an Alzheimer’s patient. She won in this category for Darling, but that was more than 40 years ago, I think sentiment is rolling her way more than anyone else. I wouldn’t be all that shocked by Cotillard or Page pulling an upset, but here’s the thing about upsets: I suck at picking them. I don’t think I’ve ever been right in calling one. So I’m playing it safe and sticking with Christie.
WILL WIN: Christie
SHOULD WIN: Amy Adams for Enchanted, dagnabit! But since the voters were too lazy to nominate her …
I’ve heard complaints that Page’s performance is all snark, or that she’s “playing herself.” Those complainers clearly aren’t paying attention. Yes, Juno’s snappy one-liners are what first come to mind about the character, but what makes her truly resonate is how character changes in the film, becoming less sarcastic and more grounded. Even if she doesn’t win, I fully expect Page to be back here before too long.
Your turn to vote:
[an error occurred while processing this directive]And now, the toughest category of them all - click on the jump to end the drum roll:
BEST SUPPORTING ACTRESS
Saoirse Ronan, Atonement: Ronan, 13, showed remarkable poise in the key role of her film: the tremulous child who sets a chain of tragedies in motion with a reckless lie. If her performance didn’t deliver, the film would have collapsed. However, the film’s acclaim dimmed as time went by, and she’ s up against very heavy competition. It’s not impossible that she’d win, but it’s very, very unlikely.
Cate Blanchett, I’m Not There: In just about any other year, I would have called Blanchett the easy winner in this category. After all, it’s not every day that a great female Australian actress utterly nails Bob Dylan circa 1965. There’s one major problem, though: Blanchett won an Oscar only three years ago, and for playing a real person to boot: Kate Hepburn in The Aviator. Unless voters default to the flashiest performance, which they may very well do, I think they’ll bypass Blanchett this time.
Amy Ryan, Gone Baby Gone: Ryan built up a great deal of steam early on for playing the drug-addled mom of a missing child, picking up an armful of critics’ trophies. She also has the distinct advantage of being a well-regarded stage/character actress, not unlike winners Mercedes Ruehl (The Fisher King) and Marcia Gay Harden (Pollack). However, I think her momentum has peaked.
Ruby Dee, American Gangster: Dee is a legend among actors, having steadily worked int the business for decades, often in tandem with her late husband Ossie Davis. Her victory at the Screen Actors Guild awards is clear evidence of the high regard in which she is held. Some deride her chances for the brevity of her performance in the movie, and it is true that one short but crucial scene got her the nomination. That said, other actresses have won with very little screen time, such as Beatrice Striaght for Network, and Judi Dench for Shakespeare in Love.
However …. Network and Shakespeare in Love were both Best Picture nominees. American Gangster is not; and unlike those acclaimed films, Gangster has only one other nomination, for Art Direction. And lest we think the time is ripe to award an aging legend, try telling that to another lady, whom everyone was soooooo sure would win an Oscar, until Juliette Binoche’s name was called, for the Best Picture nominee, The English Patient. That lady was Lauren Bacall, and she’s an even bigger showbiz legend than Dee. I’m not ruling out Dee, but all things considered, I feel a tad more comfortable picking ….
Tilda Swinton, Michael Clayton: Oscar-watchers who talk to voters have reported a surge for Michael Clayton, a Best Picture nominee. I think that will manifest itself in votes for Swinton, a uniquely talented actress who brings a very distinct flair to everything from arthouse hits (Orlando) to entertaining junk (Constantine) to fantasy blockbusters (The Chronicles of Narnia). That versatility, coupled with the fact that she’s in a well-liked Best Pic nom, will carry her to the Kodak stage.
WILL WIN: Swinton, by a hair - although only Ronan would truly surprise me.
SHOULD WIN: I greatly admire all the nominated performances, but the one that moved me the most is the one least likely to win: Ronan.
Your turn again:
[an error occurred while processing this directive]Now … tell me why you picked the ladies you did.
Permalink | Comments (4) | Categories: Oscars Sunday Night
Oscar, Oscar, who will win the Best Actor prizes?
Oscar predictions week continues. I tackled Best Picture/Director yesterday, so it’s time for Best Actor and Supporting Actor today. Once again, both categories have clear favorites. Nominees are listed from least to most likely to win.
BEST SUPPORTING ACTOR
Philip Seymour Hoffman, Charlie Wilson’s War: Hoffman turned in a riotous performance as a wisecracking CIA division chief and was widely considered the best thing about the movie, another presumed front-runner that faded. However, Hoffman just won a Best Actor prize for Capote, so it’s too soon to reward him again. Besides, Javier Bardem is such a favorite in this category, no one can beat him.
Casey Affleck, The Assassination of Jesse James by the Coward Robert Ford: This was the younger Affleck’s big breakout year between his performance as Robert Ford here and in big brother Ben’s directorial debut Gone Baby Gone. Clearly, he has arrived. However, for every person who thinks Assassination is a masterpiece, there are a couple more who consider it a pretentious slog. Besides, Javier Bardem is such a favorite in this category, no one can beat him.
Tom Wilkinson, Michael Clayton: This ever-reliable character actor turned in a typically riveting performance as the flipped-out attorney who sets the plot of Michael Clayton in motion. I’m sure the Academy would like to recognize him someday, but not this year. Javier Bardem is such a favorite in this category, no one can beat him.
Hal Holbrook, Into the Wild: A veteran who’s even longer in the tooth than Wilkinson, Holbrook finally scored what is rather unbelievably his first nomination as the man who mentors the protagonist of Into the Wild. If anyone can upset Bardem, it’s him. He has been extremely gracious in talking about his success up to now, which certainly helps. Even so, Javier Bardem is such a favorite in this category, no one can beat him.
Javier Bardem, No Country for Old Men: He’s such a favorite in this category that no one … aw, you know what I mean by now. No Country isn’t 10 minutes old before Anton Chigurh becomes one of the great screen villains of all time. If he loses, the minds of Oscar viewers will flip like so many coins.
WILL WIN: Bardem
SHOULD WIN: Bardem burned into my memory right away and stayed there long after the film was over, threatening to become part of my nightmares.
YOUR VOTE: Tell us who you would pick if you were an Academy member:
[an error occurred while processing this directive]BEST ACTOR after the jump
Johnny Depp, Sweeney Todd: The ever versatile and quirky Depp impressed many with his vocal chops, but chopping of another sort - namely all that bloodletting - made many people flinch at the movie whether they knew the source material or not. Some other year.
Viggo Mortensen, Eastern Promises: If there were an Oscar for most fearless performance, Mortensen would grab it in a walk for the infamous bathhouse scene alone. He completely owns the character. The film was not widely seen, however, and its bloodiness will make some viewers shut it off.
Tommy Lee Jones, In the Valley of Elah: Jones pulled the biggest GASP on nomination day for being nominated for this film instead of his part in No Country. Elah did so poorly at the box office, his chances were considered nil. Those who finally see this film will see one of Jones’ best performances, but they won’t be great enough in number for him to win.
George Clooney, Michael Clayton: The extremely well liked Clooney provided the very strong if conflicted center of this extremely well-liked film. Some say he’ll benefit from a late surge, but there are two problems with that argument: he just recently won for Syriana, and the role is the least showy of the five. Oscar typically doesn’t go for subtle.
Daniel Day-Lewis, There Will Be Blood: And this may be the least subtle of all the performances, with the actor doing much glowering and shouting, but that hardly means this performance isn’t complex and nuanced. Day-Lewis throws himself into the role of Daniel Plainview, an unrepentant oil man who at first seems completely irredeemable, until subsequent viewings reveal glimmers of a soul he can’t hang onto. Some say Day-Lewis is channeling John Huston here, but, genius that he was, even Huston couldn’t have pulled off work this indelible. Day-Lewis has won before, for My Left Foot, but a performance this towering will easily overcome any drawbacks.
WILL/SHOULD WIN: Day-Lewis
YOUR VOTE: Who should win?
[an error occurred while processing this directive]After casting your votes, tell me why you picked as you did. Who gave the best performances and why?
Permalink | Comments (2) | Categories: Oscars Sunday Night
Home (Re)Viewing: Clayton, Gangster and more
Today presents quite a good selection of DVDs for your home viewing pleasure, including two of this week’s Oscar nominees.
American Gangster: I wanted this movie starring Russell Crowe and Denzel Washington and directed by Ridley Scott to blow me away. So I was actually rather disappointed when I was merely very impressed. Its pacing is uneven, and it takes too long to catch fire, but at its best, the film is good enough to make me wish it were great all the way through. The DVD comes with an “extended” version of the film, which has become something of a hallmark for Scott, but in this case, the additions don’t significantly improve the film. Full review: GRADE: B+
In the Valley of Elah: Tiring of the Iraq war, most moviegoers didn’t care to see this movie about the after-effects of the war - and that’s too bad, because they missed a towering performance by Tommy Lee Jones playing a man trying to solve the mystery of his son’s death after he returned home from Iraq. Writer-director Paul Haggis sometimes overplays his hand, especially with an ending that’s about as subtle as a brick to the forehead, but the Oscar nominations Jones scored for this movie was richly deserved. GRADE: B+
Lust, Caution: Ang Lee’s espionage drama got a lot of press for its NC-17 sex scenes, then the movie itself never made much of an impact. Again, people were missing out - it’s quite gripping, if a little slow-going at first. GRADE: A-
Michael Clayton: Here’s the first Best Picture Oscar nominee to make its way to DVD: an excellent legal drama starring George Clooney as an attorney who tries to deal with the chaos that erupts when his boss/mentor (Tom Wilkinson) gets a screw loose. The ending in particular works like a charm. Full review: GRADE: A
Rendition: Not even Reese Witherspoon could make this drama about the consequences of torture a hit at the box office, and no wonder — despite her lead billing, she’s not in the movie much. Aside from that, the movie doesn’t work because it gets too caught up in Making a Point.
Also out today
30 Days of Night: This vampire movie sounded promising, coming as it did from the director of the indie hit “Hard Candy.” And then the lousy reviews and tepid box office were the proverbial stake through the heart.
Permalink | | Categories: On Video/DVD
Oscar, Oscar, who will win Best Picture/Director?
Put away the Valentines stuff and break out your Oscar ballots, folks. The show’s coming up this Sunday, and it’s time to make some predictions here.
This year, unlike the Oscars, I’m not going to make you wait aaaallll the way till the end for the Best Picture prize and make you suffer through 459 montages. I’m going to START with Best Director and Picture. Why? I figured it was a good way to kick-start Oscar week, and well, quite frankly, these are two of the easier categories to predict.
Here’s how this will work all week: I’m going to analyze each nominee from least likely to most likely to win. Then I will give you the chance to tell me who you think should and will win each prize.
So here goes:
BEST DIRECTOR
Julian Schnabel, The Diving Bell and the Butterfly: Schnabel showed extremely impressive visual command in his film about a French magazine editor who is completely paralyzed except for one eyelid, and for much of the film, Schnabel boldly tells the story with a subjective camera so we can go inside the protagonist’s anguished mind. Since the movie is not up for a Best Picture prize, that almost certainly kills his chances of winning.
Jason Reitman, Juno: Reitman shocked everyone by being nominated at all, most people, myself included, thought that since Juno is more of a writer’s film than a director’s film, but he made the cut, which tells me that support for Juno may be stronger than many people think. Still, up against the showier visual styles of some of the other directors here, I don’t give Reitman much of a chance.
Tony Gilroy, Michael Clayton: Gilory, one of the sturdiest and most respected writers in town (he co-wrote all of the Bourne movies), impressed many with the supreme confidence of his directorial debut, which very successfully echoes the work of such respected directors as Sydney Pollack and Alan J. Pakula, and some voters will doubtlessly appreciate the throwback. That said, it’s not his time to win a directing prize - not with the last two/three nominees in the mix.
Paul Thomas Anderson, There Will Be Blood: Anderson has built a reputation as one of the gutsiest iconoclasts in the business through films like Boogie Nights and Magnolia. Yet with this movie he produced something in a completely different style than any of his other movies, while still retaining his unique voice. A most impressive feat indeed. He could pull an upset, but there are still significant amounts of people who find Anderson’s work hard to digest. So it’s not his time yet either. Which leaves …
Joel and Ethan Coen, No Country for Old Men: The film was hailed as their best since Fargo, for which the brothers won a writing trophy. However, they do not yet own a directing trophy, and I think the Academy is itching to give them one.
WILL WIN: The Coens
SHOULD WIN: Seeing the Coens up there would not displease me in any way, shape or form, but I think Anderson’s work visually is even bolder in the way it h harkens back to an almost classical shooting style.
Now cast YOUR ballot: Tell us what director you would vote for if you were an Academy member.
[an error occurred while processing this directive]BEST PICTURE (after the jump)
Atonement: How far the onetime front-runner has fallen. At one point, prognosticators heavily pegged this film to sweep the Oscars, but it lagged behind because the buzz peaked early. Focus Features should have released it much earlier than they did to allow the buzz to build, and they might have won. As it is, without a director nomination, this very fine film has almost no chance of winning the big prize that once seemed like a sure thing.
Michael Clayton: Support for this legal drama is passionate, and many voters will like how it feels like a movie made in the 70s (Klute, The Conversation) even though it’s set in the present day. Others feel it’s too low-key, however.
There Will Be Blood: The Academy likes big, sprawling epics that encompass the dark side of America (a la The Godfather), but as effective as the film is, I think it won’t register well with the Academy’s more conservative voters, who may find its unusual storytelling off-putting.
Juno: This year’s “little movie that could” is the biggest box-office hit of the bunch, a stat that works more heavily in Oscar’s favor than many people are willing to admit. With $124 million and counting, the film has succeeded even beyond the wildest dreams of its most ardent admirers. A bit of a backlash is in the wind (“It’s too self-conscious,” “Nobody talks like Juno,” blah blah blah), but what will probably keep this film from the winner’s circle is not so much that backlash as the Academy’s age-old bias against comedy. Still, it’s the movie most likely to ursurp the perceived front-runner ….
No Country for Old Men: Since people call this one of the best films by the Coen brothers, that means it has to be one of the best films by anyone. It has racked up one pre-Oscar prize after another. Some may carp about the deliebrately vague denouement, but I think that actually works in the movie’s favor, creating a “what does it all mean?” vibe - it’s the picture people can’t stop talking about.
WILL WIN: No Country
SHOULD WIN: As much as I love No Country, I’ve come to find that There Will Be Blood haunts me more, with its engrossing story of false prophets and soulless opportunism.
Again, your vote: What picture do you think SHOULD win:
[an error occurred while processing this directive]Now that you’ve cast your vote, leave a comment and tell me why you picked as you did - or tell me why I’m right or wrong.
Permalink | Comments (3) | Categories: Oscars Sunday Night
Going to the movies at Walt Disney World
Preface: Those looking for the usual Friday review can click here to check out my review of Jumper, which opened Thursday. And then I would advise you to skip the movie itself.
Today, however, I am going to review movies of a different kind: theme park movies.
I just got back from my sixth trip to Walt Disney World, and one of my favorite things to do there is to see the movies. Big surprise, I know. But since the movies are usually in 3D, Circlevision, or some other fancy format, watching them just once is enough to burn them in your memory forever. Here’s the rundown of the ones I’ve seen.
MAGIC KINGDOM
Mickey’s Philharmagic: Never mind Space Mountain, Tower of Terror, Rock n’ Roller Coaster and all those other thrill rides. This, hands down, is my favorite attraction in the entire resort. The 3D CGI movie takes Donald Duck on an hilarious swing through several Disney animated classics, including Beauty and the Beast, Peter Pan and The Little Mermaid, among others. My only quibble is the sometimes dodgy CG imagery (Ariel’s hair looks like a big red glob of Play-Doh), but the overall impact is so marvelous, I’m hard-pressed to complain too much. Do NOT miss this one on your trip.
EPCOT
Honey, I Shrunk the Audience: This quasi-sequel to Honey, I Shrunk the Kids looks a little dated these days, but it still boasts some excellent effects, the best of which is one that makes you feel like you’re being carried around by a child 90 times your size. Be advised some of the effects may frighten the little ones. The film was directed by Randal Kleiser, who made Grease and the not-as-well remembered Honey, I Blew Up the Kid.
Soarin’: It’s not a “movie” in the strictest sense. There’s no narrative, just a montage of various scenes of California - but this is one of the resort’s most transporting experiences. You watch the show while sitting in a hang glider-like vehicle, which lifts you up in front of an IMAX movie screen to simulate the feel of flight. It takes a while to get there, though. Lines are so long at this attraction that some say it ought to be renamed Waitin’.
Ellen’s Energy Adventure: Again, the attraction isn’t strictly a movie, but it is fun to see Ellen Degeneres in filmed segments that pit her in a Jeopardy game against Jamie Lee Curtis and Albert Einstein. The movie gives this formerly stodgy attraction a badly needed shot in the arm.
The World Showcase Movies
Wonders of China: This film, in the Chinese pavilion at the World Showcase, uses the Circle-Vision technology that was around in Walt’s day. I wish there were more of these movies; to be literally surrounded by lush visuals is quite exhilarating - usually, anyway (see below).
Impressions of France: It’s not a cirlce-vision film, but it’s projected on a deeply curved, spectacularly wide screen that gives the visuals extra kick - although, honestly, it’s rather hard to take a bad picture of the French countryside.
O Canada: The Circle-Vision film was only recently changed to include Canadian Martin Short, and in my opinion, the change is not for the better. The comedy is lame, and the film overall comes across like something that was boring by third grade. I really learned only one thing about Canada from this film: Their power ballads can be just as gloppy as ours. Blecch. The only film-based attraction at Disney that’s eminently skippable.
DISNEY’S HOLLYWOOD STUDIOS (Formerly Disney-MGM)
Muppet*Vision 3D: You won’t find bigger laughs anywhere in the Orlando area than you will at this uproarious film. Honestly, though, seeing the film always makes me misty-eyed, because this film was Jim Henson’s final performance for a Muppet product as Kermit, before his untimely death in 1990. Be sure to get there early enough to catch the very funny pre-show, and to take time to look around at the very funny props. My favorite sign is outside the exit door: “Do not stand here. You will be trampled.”
Star Tours: This Star Wars-based simulator ride is still fun, but since it hasn’t changed since 1989, it’s very badly in need of updating. Other simulator-like rides such as Soarin’ have since eclipsed it.
DISNEY’S ANIMAL KINGDOM
It’s Tough To Be a Bug: This film is a bit of an anomaly in the Disney canon, as it came out in the summer of 1998, before the film it sprang from: Pixar’s a bug’s life. In fact, because Pixar was so busy finishing that movie at the time, they did not make this 3D film. Pixar gave their character models to the effects company Rhythm and Hues, which completed work on this attraction, filled with powerful and wild effects. In fact, they may be a little too powerful. The intense movie has been known to give many children - and more than a few bug-phobic adults - nightmares for months.
Have you had the chance to see any of these Disney attractions? What did you think?
Permalink | Comments (1) | Categories: Moviegoing
Indiana Jones says Happy Valentines Day!
Well, OK, there are no hearts and flowers, but Indy and Co. have gifted us with the teaser trailer for Indiana Jones and the Kingdom of the Crystal Skull (man, my fingers tire after typing that title.)
If the embedded trailer doesn’t work, try clicking here
In a word:
S-A-L-I-V-A-T-E
I give up. Resistance is pointless. I have expressed my misgivings about this sequel in the past, but they have blown away like so much sand in the ark of the covenant. This is now the live action movie I’m most looking forward to seeing this year. (Pixar’s WALL-E still gets the top spot).
My only quibble about the trailer is that I think Indiana Jones is well known enough that we don’t really need the recap of the prior three films. It would have been better if that had been dropped and instead, we let “The Raiders March” be our “Ooooh, THAT’s what this is!” cue.
That aside, everything works like gangbusters. Cate Blanchett looks great, it’s fun to see Karen Allen back, the stunts made me say “whoa” and all concerns about Harrison Ford being 65 are now null and void.
Besides, the notorious Spielberg/popcorn movie detractor Jeffrey Wells seems to like it, so the trailer must be doing something right.
(Circles May 22 date on calendar)
What do you all think?
Permalink | Comments (3) | Categories: Coming Attractions
‘Jumper’ trips and falls
Whenever someone asks me what super power I would most like to have, I always answer teleportation. Wouldn’t it be cool if I could, say, go to Disney World anytime I wanted? Avoid traffic jams for the rest of my life? Drop in on that old friend I haven’t seen in years?
Having seen Jumper, unfortunately, I am no longer so enticed by the possibilities. It’s not because the movie showed the dangers of teleportation. It’s more because the movie takes its intriguing premise and makes it singularly dull in less than 90 minutes.
That points up a rare problem for a big budget Hollywood action movie. Many of them are overlong and bloated, but not Jumper. It’s not only too short, it’s too lean, a prime example of all sizzle and no steak. Instead of seriously pondering the consequences of an amazing ability like teleportation, Jumper is merely content to wave its copious digital effects around and say “Look, ma! No vehicle!”
Hayden Christensen plays David, a forlorn young man who discovers that if he thinks hard enough, he can zap himself to whatever place he imagines. At least I think that’s how it works. The movie never explains it very clearly.
Certainly, wielding such a remarkable power presents all kinds of possibilities, but the movie never stops long enough to consider any of them. It’s too busy piling on one digital effects sequence after another. The screenplay feels slapdash and disorganized, jerry-rigged as it was by three separate writers, including David S. Goyer (Batman Begins) Jim Uhls (Fight Club) and Simon Kinberg (Mr. and Mrs. Smith).
Jumper pays lip service to the fact that David makes his money by teleporting in and out of bank vaults and stealing cash, but instead of showing us the wonder of this power, the story sticks David in a dopey plot about other jumpers and some band of hunters who look like rejects from a Matrix rip-off.
The real disappointment, however, comes from the fact that the normally reliable Doug Liman, who made Go, The Bourne Identity and Mr. and Mrs. Smith, directed this mess. Jumper does showcase Liman’s flair for location shooting, and he pulls off a few snazzy action scenes, but even they are so effects-laden, they don’t give Liman a chance to indulge in the kind of physical action that made Bourne so distinct, and that made Mr. and Mrs. Smith watchable, even with its mediocre script.
Worst of all, Liman’s gift for directing actors deserts him. Christensen plays his role as if Anakin Skywalker is still cheesed off that no one respects his powers. Samuel L. Jackson, as the nemesis, comes across as a bizarre combination of Mace Windu from Revenge of the Sith and Frozone from The Incredibles. Even the normally appealing Rachel Bilson grates as the requisite hottie. She isn’t given anything to do except look cute and pout that David isn’t telling her something.
I can’t help but think that Liman’s big-budget batteries have worn out, and that he should retrench with the smaller films on which he cut his teeth. In that light, Jumper makes me wish I could teleport after all - teleport to a better movie.
GRADE: C
Permalink | | Categories: Reviews
R.I.P. The strike, Roy Scheider, HD-DVD, etc.
Seems like every time I go on a vacation, there’s some sort of major change in the wind. You know how they say death comes in threes? Well, three passings caught my attention while I was gone.
The Writers’ Strike: The strike officially ended last night, although the news that the end was at hand came while I was gone - and to all this I say: it’s about flippin’ time. I watch very little TV, so very little of my entertainment was impacted by the strike. (Although as lousy as the movie selection has been recently, I was starting to wonder if scabs had already written scripts.)
The only serious impact it had on us movie fans was turning the Golden Globes into an even bigger embarrassment than they were already. Now that the Oscars are forging ahead with a regular show (participants TBA Thursday), the folks at the HFPA must really be smarting. Good for them.
Roy Scheider: I was saddened by the passing of the actor who will always be remembered most as the man who kept Jaws grounded while Richard Dreyfuss, Robert Shaw and Bruce the shark all had the flashier parts. Not a bad legacy, that. Still, his best performance was his excellent work as Bob Fosse’s stand-in in All That Jazz. That movie marked the end not only of Fosse’s world, but of Scheider’s great run in the 70s. He didn’t have many great roles after the 80s began, so in a sense, All That Jazz turned out to be a corker of a career capper for him.
HD-DVD: So does anybody besides Toshiba and Universal really believe HD-DVD has any worth now that Warner Bros., Best Buy and Netflix have all either dropped it or de-emphasized it in favor of Blu-Ray? At least the HD-DVDs can make for nice Christmas ornaments. All that said, I remained unconvinced that Blu-Ray has much of a future. Blu-Ray may gain a foothold for a while, but I don’t think it will dominate the market as long as VHS or standard DVD did - not with the on-demand downloads that will come our way.
So what do you have to say about any of these passings? Or any other movie issues, for that matter? Let’s make this a free-for-all. I’d like to generate some new blog ideas and would love to hear your feedback. (Insert cheesy PA voice): Remember, it’s your blog, too.
Permalink | Comments (2) | Categories: Sir Critic muses
What’s Opening Thursday, Feb. 14?
Yes, you read the date right, folks. Because the Valentine’s Day “holiday” falls on a Thursday this year, Hollywood is opening its new fare day and date with Cupid’s prime time. What’s more, after a few moribund weeks, the offerings hold some promise.
Definitely, Maybe: Ryan Reynolds tries to tell daughter Abigail Breslin his romantic life story, leaving Breslin to guess which woman is her mom: Elizabeth Banks, Isla Fisher and Rachel Weisz. She’s a lucky girl, and I would say Reynolds is a lucky guy, except that all three relationships ended. Ouch. Early reviews are positive if not exactly glowing. I would have liked to have screened this for V-Day, but Tuesday’s snowstorm nixed that, so instead I will review …
Jumper: Doug Liman directs Hayden Christensen who plays a man who can sort of teleport anywhere he likes, much to the chagrin of none other than Mace Windu, AKA Samuel L. Jackson. Talk about payback. Reviews so far are not so encouraging. My guess is this will make decent coin, but I have a feeling that whether this film succeeds or not, Liman will go back to making smaller films like Go or Swingers.
The Spiderwick Chronicles: Yet another entry in the ever-lengthening line of fantasy flicks, this one looks to be more Narnia and less The Golden Compass. The gifted young actor Freddie Highmore (Finding Neverland, Charlie and the Chocolate Factory) heads the cast; the undervalued Mark Waters (Mean Girls, the Freaky Friday theatrical remake) directs.
Step Up 2 the Streets: Is this dance really necessary?
Your turn to type. What are you most (or least) looking forward to seeing this weekend?
Permalink | Comments (1) | Categories: Coming Attractions
Home (Re)Viewing: While we’re snowed/iced in …
So I come home from Disney World to find all this snow and ice here. Something tells me I shoulda stayed an extra day or two.
However, since I’m back in the blogging saddle, and this is DVD release day, and since so many of us are snowed/iced in, it’s a good time to see what’s new, or new-ish, on DVD shelves.
New Today
Becoming Jane: From the Shakespeare in Love school of literary reimagining comes this drama that tells us the young Jane Austen’s life was very much like Pride and Prejudice - too much like it for the movie’s own good. The similarity to the classic novel makes the film too pat. Still, it held my attention most of the way, thanks in no small part to a very fine performance by the terminally undervalued Anne Hathaway. GRADE: B
Gone Baby Gone: This powerful tale of a child abduction gone awry, by Mystic River author Dennis Lehane has much the same feel as the Clint Eastwood film of that novel, so it’s all the more remarkable that Ben Affleck, directing his first feature, still manages to put his own stamp on the movie, making it feel very authentic and lived-in. His visuals are occasionally a touch too flashy, and the ending is a bit ham-handed, but this is still a powerful film. Amy Ryan deserves all the kudos she’s been getting as the drug-addled mother. Full review. GRADE: B+
In the Shadow of the Moon: This documentary about the Apollo program focuses too much on the already very well known 11 and 13 missions, but hearing the astronauts tell their own stories is still an invaluable experience. Too bad our boy Neil Armstrong didn’t come out of hiding for it. GRADE: B+
Into the Wild: Sean Penn adapted and directed the film version of the Jon Krakauer book about Christopher McCandless, a man so disaffected by his life and society in general, he strikes out on a cross-country odyssey. The film is occasionally a touch too assured of its own importance, but there’s no denying its potency. Hal Holbrook received a Best Supporting Actor Oscar nomination. GRADE: A-
Also seen by me
Across the Universe: This Beatle-cover-infused musical became very much a “love it or hate it” film, and I very much fell into the “love it” side. No, it doesn’t always work, but even its failures (like the grating “Being for the Benefit of Mr. Kite” number) are rather endearing. Full review. GRADE: A
The Assassination of Jesse James by the Coward Robert Ford: A fascinating slice of history takes off in grand style, helped in no small part by Roger Deakins’ gorgeous Oscar-nominated photography - but then it drowns in pretension before finally recovering with a strong finish. With DVD, the movie gets the fast-forward it badly needs. GRADE: C+
The Brave One: This has been called a “female version of Death Wish,” and on the surface, that’s true, but with Jodie Foster in the lead and Neil Jordan directing, there’s more than meets the eye here. Some shallow writing and an unconvincing ending keep it from being a great film, but it’s more compelling than many folks gave it credit for. Full review GRADE: B+
Elizabeth: The Golden Age: Funny, I didn’t know the continuing story of Queen Elizabeth I was a really dopey soap opera with lavish costume design and art direction. Yes, Cate Blanchett is again magnetic in the title role, and is the best thing about the film, but no, she did not deserve the Oscar nomination that should have gone to Enchanted’s Amy Adams. GRADE: C
Also on shelves
Feast of Love: Robert Benton’s multi-character romantic entanglement failed to make much of a splash, but with a cast that includes Morgan Freeman, Radha Mitchell, Greg Kinnear and Selma Blair, I’m inclined to give it a shot.
The Jane Austen Book Club: Seems like its Jane Austen mania at the movies these days, what with the recent Pride and Prejudice film, Becoming Jane and now this. General word of mouth indicates this was the least successful of the bunch.
Martian Child: So I take it from the middling box office of this John Cusack vehicle that the child really wasn’t from Mars?
No Reservations: This food-based romcom with Aaron Eckhart and Catherine Zeta-Jones always did come across as the kind of pleasant diversion that would find a bigger audience on the small screen.
Things We Lost in the Fire: This Halle Berry/Benicio Del Toro drama was on the short list of some Oscar prognosticators, and then the movie came out and people said, “Not interested.” Still, it has some passionate defenders.
Tyler Perry’s Why Did I Get Married: You Tyler Perry fans know who you are.
We Own the Night: Director James Gray has been making these mid-level dramas like this and The Yards, but despite a strong cast that included Mark Wahlberg, Joaquin Phoenix and Robert Duvall, I heard nothing to convince me this was a must-see. Your mileage may vary.
Permalink | | Categories: On Video/DVD
Now playing at a theater near you …
Eric Robinette! You just completed your first month of blogging in 2008! What are you going to do next?
I’m going to Disney World!
No, really - I actually am going to be on vacation at Disney World until Feb. 12. So since the new slate for today is so meh, as I pointed out Thursday, I shall instead leave you with capsule reviews/links to full reviews of the movies still playing in theaters.
If a title is hyperlinked, I gave it a full review. My reviews of DVD releases will return next week.
Atonement: Superb wartime drama that makes shattering points about the nature of truth. Should have gotten much more Oscar attention than it did. GRADE: A+
Bee Movie: Has some genuinely clever and funny moments before becoming another self-satisfied, too-cool-for-sentiment effort from DreamWorks. GRADE: C+
The Bucket List: Jack Nicholson and Morgan Freeman play cancer patients, reviving with their star power a rather trite script that comes uncomfortably close to making cancer seem cutesy. GRADE: B-
Charlie Wilson’s War: Mike Nichols’ satirical look back at the arming of the Afghans against the Soviets is very funny, thanks to some sharp writing and fine performances, particularly by Tom Hanks and Philip Seymour Hoffman. However, the movie is too short, and its refusal to put Wilson’s story in the context of today’s events blunts its impact. GRADE: B
Cloverfield: A fun, inventive monster movie for the digital age that works precisely because we don’t know much about the monster. Characterization is on the shallow side, however. GRADE: B+
Dan in Real Life: Low-key charmer benefits from winning performances by Steve Carrel and Juliette Binoche. GRADE: B
Enchanted: Yes, it’s still out there, which means you still have a chance to see why Amy Adams not only should have been Oscar-nominated for her luminous performance, but why she should have been the favorite to win. GRADE: A+
The Golden Compass: If set and costume design were everything, this would be the movie of the year. Unfortunately, this adaptation of Philip Pullman’s controversial novels feels inert because it labors too hard to explain the story and not hard enough to develop the characters. GRADE: C+
The Great Debaters: Yes, a movie about a lot of students talking can be thrilling in the hands of a perfect cast and a confident director like Denzel Washington, who builds his second film to a deeply affecting finale. GRADE: A
Into the Wild: Gripping story of a man who found and lost himself in the wilderness. Very strong directing by Sean Penn and acting by Emile Hirsch. GRADE: A
Juno: At first, it seems as though this indie hit is trying too hard to be ultra-hip, only to reveal that that was the idea all along. Ellen Page’s high-wire performance gradually reveals layers of subtlety and emotion as the 16-year-old comes to grips with giving birth, all while delivering the snarkiest one-liners of the year. GRADE: A
Michael Clayton: Excellent legal drama, with one of the most deeply satisfying endings of the year. GRADE: A
National Treasure: Book of Secrets: The first National Treasure blindsided me. I really enjoyed it even though the ads made it look like just another brainless action flick. That’s why I was so unpleasantly surprised by the lameness of this sequel, which is everything I was afraid the first movie would be: loud, obvious and flat-out stupid. I checked my watch about as often as someone cracked a limp one-liner. GRADE: D+
No Country for Old Men: One of the Coen Brothers’ very best movies, which by extension makes it one of last year’s very best movies. On the surface it’s a thriller about greed and corruption resulting from a botched drug deal, but a closer look reveals it to be a look at how evil and particularly death are inescapable. No film from last year lends itself better to repeat viewings. At the time of this writing, the favorite to win the Best Picture Oscar, among others. GRADE: A+
Sweeney Todd: Unlike much of the moviegoing public, I was aware that Johnny Depp sings in this movie, but that’s not why it underwhelmed me. I must give director Tim Burton props for his willingness to go for broke in making this film bloody and morbid. It’s nothing if not gutsy, in more ways than one. However, the movie is so oppressively grim, the sour mood distanced me from the material. I admired it more than I enjoyed it. GRADE: B-
There Will Be Blood: Proof positive that no filmmaker is more daring than Paul Thomas Anderson, and that no actor is quite so magnetic as Daniel Day-Lewis in this spellbinding story of an oil man, Daniel Plainview, who is charismatic yet soulless. The film prompts many responses, but one thing is for sure: You will never - ever - hear the words “milkshake” and “drainage” in the same way again after seeing this film. GRADE: A+
Untraceable: Clever story idea of a killer who makes his Internet audience culpable in his murders goes badly awry when smart characters become really, really stupid. GRADE: C
