Saturday, January 30, 2010

Oscar nomination predictions 2010.

An unexciting year for the Academy Award nominations despite the initiation of the ten-film Best Picture list. I expect Avatar to earn the most nominations, with The Hurt Lock and Inglourious Basterds close behind.

The only real excitement arrives from the Supporting Actress category, where there are eight possibilities. I suspect, however, that this excitement may lead in disappointment and the exclusion of Julianne Moore (boo!). And yes, it is my not-so-secret wish that A Single Man stuns everyone and features heavily when the nominations are announced this Tuesday.

Best Picture
Avatar
An Education
District 9
The Hurt Locker
Inglourious Basterds
Invictus
Precious
A Serious Man
Up
Up in the Air
Upset: Nine, Star Trek
Wish: Avatar, District 9, The Hurt Locker, Inglourious Basterds, Julie & Julia, Precious, The Princess and the Frog, A Single Man, Star Trek, Up

Best Director
Kathryn Bigelow for The Hurt Locker
James Cameron for Avatar
Lee Daniels for Precious
Jason Reitman for Up in the Air
Quentin Tarantino for Inglourious Basterds
Upset: Clint Eastwood for Invictus
Wish: Bigelow, Cameron, Tom Ford for A Single Man, Tarantino, Lars von Trier for Antichrist

Best Actress
Sandra Bullock for The Blind Side
Helen Mirren for The Last Station
Carey Mulligan for An Education
Gabourey Sidibe for Precious
Meryl Streep for Julie & Julia
Upset: Emily Blunt for The Young Victoria
Wish: Mulligan, Zoe Saldana for Avatar, Sidibe, Streep, Tilda Swinton for Julia

Best Actor
Jeff Bridges for Crazy Heart
George Clooney for Up in the Air
Colin Firth for A Single Man
Morgan Freeman for Invictus
Jeremy Renner for The Hurt Locker
Upset: Tobey Maguire for Brothers
Wish: Firth, John Krasinski for Away We Go, Renner, Sam Rockwell for Moon, Ben Winshaw for Bright Star

Best Original Screenplay
(500) Days of Summer
The Hurt Locker
Inglourious Basterds
A Serious Man
Up
Upset: District 9
Wish: Away We Go, Bright Star, The Hurt Locker, Inglourious Basterds, Rage

Best Adapted Screenplay
An Education
Crazy Heart
Invictus
Precious
Up in the Air
Upset: A Single Man
Wish: In the Loop, Precious, A Single Man, Star Trek, Up in the Air

Best Supporting Actress
Vera Farmiga for Up in the Air
Anna Kendrick for Up in the Air
Diane Kruger for Inglourious Basterds
Mo'Nique for Precious
Samantha Morton for The Messenger
Upset: Julianne Moore for A Single Man/Melanie Laurent for Inglourious Basterds/Sigourney Weaver for Avatar
Wish: Farmiga, Kruger, Laurent, Moore, Mo'Nique

Best Supporting Actor
Matt Damon for Invictus
Woody Harrelson for The Messenger
Christopher Plummer for The Last Station
Stanley Tucci for The Lovely Bones
Christoph Waltz for Inglourious Basterds
Upset: Christian McKay for Me and Orson Welles
Wish: Peter Capaldi for In the Loop, Harrelson, Matthew Goode for A Single Man, Tucci for Julie & Julia, Waltz

Friday, January 29, 2010

Avatar.

The first moment of Avatar sees a spec of water projected between the audience and Jake Sully (Sam Worthington). It is a moment of awe for Sully, in his state of post-hibernation, and the audience, who are witnessing their first moments of true cinematic 3D integration. Sully will go onto his rerouted life as an avatar while we, the audience, will continue this exploration of a new form of cinema while being reminded of what makes it so good in the first place. It doesn't strive for narrative originality but for entertainment and it does so splendidly!

Echoing two of my childhood treasures, Fern Gully and Star Wars, this combines the religious aspects of these films with the stock filmmaking of James Cameron. The main criticisms for the film (it's cliched, overlong, self indulgent,*) are staples of Cameron's films and, while it could easily be tidied up through some shrewd script-editing, can be forgiven for his apt ability to infuse such 2-dimensional tales with 3-dimensional worlds, with or without his new technology. After all, Cameron promised he would change the face of cinema not its underlying features. And he has kept his promise. Should he have focused on improving his screenwriting ability rather than his proved ability for visuals? No (he should simply not write or, at least, get some script doctoring), Cameron has broadened the potential of cinema and this should be applauded. And, as we all know, he certainly is.

This is as thrilling as anything I have experienced in the cinema.

*And (my favourite criticism of the film) the comparisons to Iraq are quite interesting; the notion that the biggest film of all time is anti-American is quite delicious, not that I could give much heed to such a parallel.

Wednesday, January 27, 2010

"It's a very complicated situation."

"To love is to suffer. To avoid suffering one must not love. But then one suffers from not loving. Therefore, to love is to suffer; not to love is to suffer; to suffer is to suffer. To be happy is to love. To be happy, then, is to suffer, but suffering makes one unhappy. Therefore, to be unhappy, one must love or love to suffer or suffer from too much happiness. I hope you're getting this down."

Tuesday, January 26, 2010

Cinematic heroes.1

So excitement fused with boredom has brought me to this new series dedicated to those creations that have proved heroic in my obsessively passionate eyes. We can readily identify a Luke Skywalker, an Elizabeth Bennett or an Erin Brockovich but they are not the heroes that will prove of interest here. Instead I'm interested in the C3PO, the Mr. Bennett/Mrs. Bennett/Jane/etc. and that woman with two wrong feet and fucking ugly shoes (Theresa Dallavale)... And where better to start than one of my favourite unsung characters, that of Peg Boggs (Dianne Wiest) in Edward Scissorhands.
"Avon calling!", those first words of unfiltered enthusiasm are met with a series of brick walls; first she is met with jeering, then a slammed door, then a teenage girl abusing the opportunity for Avon products without any inclination of a purchase. Her determination remains, however, and the next door she arrives at (that of a local, remote castle) allows her Avon enthusiasm evolve into one for humanity. Edward (Johnny Depp), the quintessential Tim Burton creation, represents the social oddity and Peg is the catalyst for his inclusion into this emphasised version of suburban America. His absence of parents, isolation and scarred face create a logical action from Peg; she must help.

This can be read in terms of Henry Higgins, with the notable differing residing in their objectives; Higgins is outwardly motivated by selfishness, Peg is naively pure and unselfish. This is continued through the introduction of Edward to her society, his initial successes and his ultimate downfall where she defends, celebrates and shelters him. She is a the always maternal woman. The eventual downfall of Edward, however, coincides with Peg's own, as is too common for pure and unselfish women in Hollywood. It is soul crushing when Peg herself eventually admits:

"You know, when I brought Edward down to live with us, I really didn't think things through. And I didn't think about what would happen to him. Or to us. Or to the neighbourhood. And now I think that maybe, it might be best if he goes...back up there. Because at least there he is safe. And we'd just...go back to normal."

She has lost her battle for Edward, but she has not lost sight of the war - his happiness; Edward cannot remain in their home but he can survive, and so can everyone she cares about. This is yet another example of her unselfish motivations. In it significant then, that the subsequent scene where Jim (Anthony Michael Hall) begins to beat Edward as an eager audience watch sees Peg standing aback, consciously removing herself from the scenario. Perhaps this a physical acceptance of the failure of her initial actions and her inability in mothering Edward, instead she places herself where she is can succeed (in helping her bruised son). This was always a disturbing moment for me and now, I would identify it as the crucial moment where we, the audience, accept the idiotic dynamism of social attitudes and the impossibility of Edward's position within such a world.

Still, we can dream that Peg would return to that castle with the characteristic squint and smile of Wiest to get her hair cropped by Edward.

Tuesday, January 26, 2010

A quick celebration for Cannes 2010.

Tim Burton will be the jury president of Cannes 2010. Hoorah!

Monday, January 25, 2010

A (temporary) Disney oxymoron.

Quisimodo + Esmeralda = a Victor Hugo romance.
Quisimodo + Esmeralda a Disney romance.

Monday, January 25, 2010

A quick bit of Oscar talk.

I think it could happen. I heart Sig.

Sunday, January 24, 2010

10 thoughts on...the SAG Awards 2010.

  1. I will now admit that I have never sat through a live showing of an American film award ceremony. This was my first. Virginity lost. And guess what?...the experience has tainted my view of awards themselves. Sure there were wonderful moments of joy but these were spoiled by the pretentiousness and politics of the whole ceremony, starting with a live montage of "I am X and I am an actor" (how embarrassing!) and ending with Eli Roth accepting Inglourious Basterds's Ensemble actor (Quentin Tarantino is a better actor than Roth - he is that bad).
  2. Colin Firth brought Tom Ford as his date. How dapper both men are! Ford excites me as much as the combined super hunk of Zac Efron and Robert Pattinson would excite a teenage girl. Oh my!
  3. Sandra Bullock is now the woman to beat for the Actress Oscar. My feelings remain mixed on this. I love her, I do but I love the performance of Carey Mulligan and the expression of disappointment that filled her face at the Globes and here just kills me. Hopefully a BAFTA win will suffice for Mulligan this year. While Meryl Streep will have to play the Kate Winslet card and start demanding an Oscar for services rendered.
  4. Glee's win for TV Comedy Ensemble (or whatever the hell it is called) made me heartwarmingly happy. Have I succumb to its charms?!?
  5. The television acceptance speeches were more fun than the acting ones (can someone please tell me what Bullock was on about?!). Julianna Margulies exposed the lack of pride her parents had for her work in Snakes on a Plane while Michael C. Hall thanked his wife for wearing "that dress".
  6. Nicole Kidman abandoned her Hollywood gown for a kooky look that allowed her fun side to shine again. I'm back in love with her (it is tough being a fan of Nic!).
  7. I had no idea that the father of Toni Collette and Cameron Diaz in In Her Shoes (Ken Howard) was the president of the FAG SAG.
  8. Sandra Bullock + Betty White = only laughs of the evening. Bullock jokes about the annoyance of White only to fall victim to White's backhanded praise: "isn't it heartening to see how far a girl as plain as she is can go". Glorious!
  9. Mo'Nique is way too intense. Remember to smile when you win your Oscar (Bullock, Jeff Bridges and Christoph Waltz certainly will).
  10. Inglourious Basterds takes the top prize. Hoorah! It had a terrific cast with impressive performances and undoubtedly deserves the recognition.

Saturday, January 23, 2010

Gratuitous Actress Lusting x4

Just thought I'd give Julianne Moore some loving as the SAG passed on her performance in A Single Man. No matter who else fawns on you, you can depend on me JM.

Saturday, January 23, 2010

SAG Awards predictions 2010.

I do like this particular ceremony. It is less afraid to root for the underdog (as long as this underdog is a firm contender for an Oscar nod, not some wild card SAG nominee) and usually brings an element of surprise to its winners.

Unfortunately it is unlikely there will be many surprises this year, perhaps Stanley Tucci can topple Christoph Waltz ? Tucci is an old hand adored by fellow actors after all. Otherwise the excitement will depend on the Ensemble Cast and Actress awards. The former could go to The Hurt Locker, Inglourious Basterds or Precious but but can only prove fruitful for The Hurt Locker's Oscar hopes (nothing can change the fact that Oscar simply won't bite the untraditional stylings of Basterds and Precious). The latter category, however, could prove crucial in the battle between Sandra Bullock and Meryl Streep: if Streep wins a second consecutive SAG then she will take home that award.

Outstanding Performance by a Cast in a Motion Picture
Win: Inglourious Basterds
Upset: Precious
Wish: The Hurt Locker

Outstanding Performance by a Male Actor in a Leading Role
Win: Jeff Bridges for Crazy Heart
Upset: George Clooney for Up in the Air
Wish: Colin Firth for A Single Man

Outstanding Performance by a Female Actor in a Leading Role
Win: Sandra Bullock for The Blind Side
Upset: Meryl Streep for Julie & Julia
Wish: Carey Mulligan for An Education

Outstanding Performance by a Male Actor in a Supporting Role
Win: Christoph Waltz for Inglourious Basterds
Upset: Stanley Tucci for The Lovely Bones
Wish: Stanley Tucci

Outstanding Performance by a Female Actor in a Supporting Role
Win: Mo'Nique for Precious
Upset: Vera Farmiga for Up in the Air
Wish: Mo'Nique

Saturday, January 23, 2010

If I were Miranda July...

An endlessly fascinating scenario is given a type of reality with this collection of skillfully imagined playlists from some of American cinema's greatest independent filmmakers (including Sofia Coppola, Cameron Crowe, Wes Anderson and Michel Gondry). Hoorah!

Friday, January 22, 2010

The Lord of the Rings on Facebook x4

Friday, January 22, 2010

"What the fuck am I doing on a gay tour of Tuscany?"

Let us raise a glass to celebrate the birthday of Diane Lane, the stunningly beautiful and richly talented star who I will always adore for Under the Tuscan Sun. (My ultimate guilty pleasure). The film may imprison her in the world of Hollywood (insecure women with unrealistic idealism flees to a foreign land where she discovers her belonging in the picturesque rural) but she's not going to let that spoil our fun!

Lane lends the character of Frances an emotional depth that remains absent throughout all other aspects of the film. She is with us, the audience, when we inadvertently disbelief her experience and she does this with an incalculable amount of charm. It helps that she the film leads her to experience some of my greatest loves in life: creative writing, romance, Tuscany, interior design, sunshine, beautiful men, glamorous (-ly camp) women. It may contain some self-reflective narration that would make Carrie Bradshaw blush. And yes, it allows Sandra Oh (and her customary sarcasm) to be as tedious as ever. AND yes, there are frequent idiotic references to Federico Fellini but Lane's charisma and her thorough enjoyment of all the above things, that allow us to accept her role within the mediocrity of the film while finding pleasure in its exuberance of all those Hollywood signifiers of escapism.

This alone cements an eternal crush on her. Josh Brolin (her hubbie) is one lucky man.

Thursday, January 21, 2010

A quick word on the BAFTA nominations 2010.

BAFTA may continue to suffer from its desire of Oscar potency with its 2010 nominations but we can be grateful it loves to praise the performers of British cinema, even if they are of the Oscar friendly variety (Andrea Arnold with Fish Tank would have been a braver, more worthy choice for Director than Lone Scherfig with An Education, for example). They are also doomed to lose to Oscar front runners.

If only Kristin Scott Thomas would take down the unstoppable Mo'Nique. Actually, I think she's safer perfecting a stiff upper lip while Mo'Nique adds a BAFTA to her collection of prizes. I wouldn't want Scott Thomas to summon a Precious scenario...

And yes, I know (and love that) Soairse Ronan is Irish but I'm not sure that BAFTA has taken note (I know the British Film Institute didn't). Post colonialism eh?

Wednesday, January 20, 2010

"Here comes your ex-husband".

Playing yourself (or the preconceived persona of yourself) is a staple responsibility of any film star gracing a Nancy Meyers production, often to glorious effect (Diane Keaton in Something's Gotta Give is wonderful!). And so it is unsurprising that Alec Baldwin simply takes the persona we all love him for in 30 Rock (a show I desperately need to see more of) and applies it to his role in It's Complicated. What is surprising was my dislike for his character which, in hindsight, I consider a masterstroke in Meyers's characteristic star gazing.

He is an arrogant, selfish (and let us not forget successful!) man who perfectly strings a selection of words together to get exactly what he wants. Jack Donaghy and Jake are the same guy. The difference? Jake is undeserving of our support for his love for the one and only Meryl Streep while Jack would even have to ask (he's not, like Jake, exhausted from the failed enterprise of a midlife crisis and begging for escape). The conquest of Jake reads as awfully as his aforementioned traits, particularly when contrasted with the perfect specimen of femininity that is Streep's Jane and the poster boy for middle-aged housewives that is Steve Martin's Adam. How could you not hate this character/ambition of his?

Because we all know this character. That figure who became an enthusiastic addition to your daily routine until those traits that irked you at first expanded to full-blown irritation. Be it a former boyfriend/girlfriend, an old friend, etc. this person will forever retain those things you like with an extra helping of those things you eventually hated. That Baldwin manages to convey this without our experience of the first phase is admirable, albeit more to the credit of Meyers's ability to successfully combine star and role rather than a stretch of Baldwin's considerable talent.

Wednesday, January 20, 2010

Something to bring a smile (to my face, at least).

This sounds impossibly perfect. Hoorah!

Tuesday, January 19, 2010

A quick verdict on The Princess and the Frog.

Did Disney just use the term 'faggot'? I'm almost certain it happened. It did! What is more the term was used in the a derogatory fashion that would sit comfortably within the world of Martin Scorsese, Quentin Tarantino or any other fan of profanities.

"Boys, take this faggot down to the Parish prison", commands the masculine voice of authority as he drags Lawrence (the sidekick of the voodoo crazy villain, Dr. Facilier) to a police van. We all could tell that Lawrence was a bit "light on his feet", as Patty Clarkson would say. This is a staple characteristic of Disney's villainous creatures (HELLO JAFAR!). But, since when has Disney elaborated the downfall of such villains in terms of their homosexuality? It is difficult to see how this quotation operates outside the realm of homophobia. Is this meant to suggest that Lawrence is punished for his homosexuality, and the associated tendencies - AKA his need for materialism that acts as his catalyst? If so can this be applied to Jafar and others whose ambition is predominantly for wealth? It is an odd inclusion for a film that consciously attempts to address backgrounded characters (and does so admirably). However, foregrounding one minority to jeopardize another is not progression.

Fortunately the film itself is a joy, more accomplished than Mulan or The Hunchback of Notre Dame but fails to reach the unforgettable heights of Beauty and the Beast or Sleeping Beauty. This is due to the excess of irritating characters, yet the central romance, the filmic nods (especially to Written on the Wind!) and slick animation create a surprisingly solid offering from the new dawn of Disney 2D animation. Hoorah!

UPDATE: The word used is 'maggot' not 'faggot'. Phew!

Tuesday, January 19, 2010

Cooking x4

Monday, January 18, 2010

10 thoughts on...the Golden Globes 2010

  1. I do not like Ricky Gervais.
  2. I am SO happy that Michael Giacchino won Best Original Score! Hoorah!
  3. The double win of Film (Drama) and Director for Avatar has only increased my love for The Hurt Locker. (Although I really have to see Avatar now!)
  4. I do love Sandra Bullock but I can't help but feel a little bit guilty for any joy felt for her win. Carey Mulligan and Gabourey Sidibe deserve the recognition more.
  5. Is it just me or is Penelope Cruz becoming Sophia Loren?!?
  6. The most perfect pairing. I can't wait to see A Single Man again! (Isn't Tom Ford the most beautiful man on the planet?)
  7. Mo'Nique still scares me. She may have put down that TV but now it seems she picked up the Bible. I like my acceptance speeches without a slice of devote Christianity. (He did not get you that Globe dear.)
  8. What happened to glamor? Everyone went low key or sickly (Nicole Kidman) or desperate (Jennifer Aniston) or pregnant (Amy Adams)...wait...oh yes. Thank God Mr & Mrs Ford for Tom. Mmmm...he did look the part!
  9. I think Nicole Kidman has lost all appeal for me. This is a worrying development. Her presentation of Supporting Actress in a Motion Picture just irritated me. Especially with its cuts to Keith Urban. Urgh.
  10. (To answer my question from my predictions) Meryl Streep gave a better speech than Bullock's. Both were of an unexpectedly serious nature, but Streep felt new while Bullock came across as a cliche.

Saturday, January 16, 2010

A quick reaction to The Blind Side.

Sandy wants you to take her seriously. But it's difficult impossible to do so with The Blind Side. Despite the fact she has a very convincing 'serious face'...
...Taking her seriously yet? I didn't think so. More convincing are the fun moments of absurdities that erupt when the 'serious face' will not suffice and Sandy must use action!

Saturday, January 16, 2010

Gratuitous Actress Lusting.

The how and why here...

Friday, January 15, 2010

Golden Globe 2010: Predictions.

The Golden Globes has (during my limited experience, at least) proven less predictable, and therefore more enjoyable than the Academy Awards. A big drunken celebration of celebrity and glamor rather than the pretentious-driven aura of Oscar. Where else would Jennifer Lopez dare to tell the elite of Hollywood that "Mama's talking" without being jeered offstage? Hopefully the show doesn't suffer from its own pretentiousness now it has donned a host, Ricky Gervais...

The following our my predictions/wishes. Outside of the two lead actress and both supporting categories, I think anything is possible and could be telling for Oscar in March.

Best Picture - Drama
Win: Inglorious Basterds
Upset: Any of the other nominees.
Wish: The Hurt Locker

Best Picture - Comedy/Musical
Win: Julie & Julia
Upset: The Hangover
Wish: Julie & Julia

Best Actor - Drama
Win: Jeff Bridges for Crazy Heart
Upset: George Clooney for Up in the Air
Wish: Colin Firth for A Single Man

Best Actress - Drama
Win: Sandra Bullock for The Blind Side
Upset: Carey Mulligan for An Education
Wish: Carey Mulligan

Best Actor - Comedy/Musical
Win: Matt Damon for The Informant!
Upset: Michael Stuhlberg for A Serious Man
Wish: Michael Stuhlberg

Best Actress - Comedy/Musical
Win: Meryl Streep for Julie & Julia
Upset: Sandra Bullock for The Proposal
Wish: Meryl Streep

Best Supporting Actor
Win: Christoph Waltz for Inglorious Basterds
Upset: Woody Harrelson for The Messenger
Wish: Christoph Waltz

Best Supporting Actress
Win: Mo'Nique for Precious
Upset: Anna Kendrick for Up in the Air
Wish: Vera Farmiga for Up in the Air

Best Director
Win: Kathryn Bigelow for The Hurt Locker
Upset: Quentin Tarantino for Inglorious Basterds
Wish: Kathryn Bigelow

Best Screenplay
Win: Up in the Air
Upset: Inglorious Basterds
Wish: The Hurt Locker

Best Original Song
Win: Brothers
Upset: Crazy Heart
Wish: undecided (AKA uninterested).

Best Original Score
Win: Up
Upset: The Informant!
Wish: Up (oh so much!)

Best Animated Film
Win: Up
Upset: None.
Wish: Up

Best Foreign Language Film
Win: The White Ribbon
Upset: A Prophet
Wish: A Prophet

So who will have the best acceptance speech? Bullock or Streep?

Friday, January 15, 2010

Clatter! Crash! Clack!

Assignments completed. Hoorah!

I feel like Selma during a glorious musical adventure where the murdered forgive their murderer and Catherine Deneuve is my best chum...I'm just hoping I don't crash back to reality when I get the results! Eeeek!

Thursday, January 14, 2010

Wednesday, January 13, 2010

Taking out Meryl Streep.

Humble with a slice of edge. How could anyone not love this woman?

Tuesday, January 12, 2010

Procrastination.

CHARLIE KAUFMAN
"To begin... To begin... How to start? I'm hungry. I should get coffee. Coffee would help me think. Maybe I should write something first, then reward myself with coffee. Coffee and a muffin. Okey, so I need to establish the themes. Maybe a banana-nut. That's a good muffin."

Tuesday, January 12, 2010

A quick word on the Writer's Guild Award nominations.

I am sure I am not alone when I offer my congratulations to Star Trek for its nomination for Best Adapted Screenplay. The way the film manages to construe the folklore of that universe in an unexpected, riveting celebration of all things Trekkie should be applauded. Hoorah!

And those criticising its nod should direct their attention to Julie & Julia. An entertaining film for sure but one that suffers from one half (Amy Adams's) of cliche. A minor complaint really, especially when you consider It's Complicated didn't repeat its Golden Globe nomination here. Phew!

PS - I have consciously reserved my judgement of Avatar, although it seems blasphemies to me that a James Cameron script could be award worthy without his visuals.

Monday, January 11, 2010

Sunday, January 10, 2010

So long, farewell...now So Proudly We Cry 'Havoc!'

Lars and company are in the can. Hoorah! Now time for Veronica Lake and the gals to join them. I'm just hoping that I'm not tempted to throw myself at the enemy like Lake.

Note to self: I love my course, I love my course...

Sunday, January 10, 2010

What will Ego say?

"In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those that offer up their work and their selves to our judgement. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so. But there are times when a critic truly risks something and that is in the discovery and defence of the new. The world is often unkind to new talent, new creations. The new needs friends. Last night, I experienced something new, an extraordinary meal from a singularly unexpected source. To say both the meal and its maker have challanged my preconceptions about fine cooking is a gross understatement. They have rocked me to my core. In the past I have made no secret for my disdain for Chef Gusteau's famous motto, "Anyone can cook." But I realise only now do I truly understand what he truly meant. Not everyone can be a great artist but a great artist can come from anywhere. It is difficult to imagine more humble origins than those of the genius now cooking at Gusteau's, who is nothing less than the finest chef in France. I will be returning to Gusteau's soon, hungry for more."

Saturday, January 09, 2010

A quick word on Up in the Air

I liked it. I did. But I find it impossible to empathise with the sincerity of the film that feels, tastes and acts so richly of Hollywood. Yes family is important. Yes love is important. No it doesn't matter that my family won't be able to afford to live...wait?!?

Up in the Air is terrific as a piece of entertainment but crumbles under much analysis. Its treatment of women is disdainful (especially when they are so frickin' good!). Those montages of the unemployed reads as the film begging for relevance. And that conclusion is just screaming for those thirty-something men who rebelled with the likes of Fight Club to come back to reality and settle down. Fortunately (or unfortunately?) such a message is unlikely to hit home: simply put, there is too much glamor on display for the film to stir much motivation for its cause. Perhaps this is why it relies so heavy on the recession card? Force the audience to link the film with their lives and presto...you have a resonating film that is Oscar worthy.

Friday, January 08, 2010

The most unnecessarily smug interview ever?


Yes this is the same Rob Marshall responsible for musical extravaganza that is about to drop out of public consciousness as it struggles for a measly $20 million at the US box-office and disappears from the race for Oscar.

Friday, January 08, 2010

Gratuitous Actress Lusting.6

How I love Vera Farmiga! If it was up to me her upcoming Oscar nod for Up in the Air would be her second consecutive nomination after her terrific performance in 2008's The Boy in the Striped Pyjamas. Yet I can hold no regret as the surge of praise unloaded on her now is enough compensation. She has every reason to laugh. I just hope future vehicles can do this charismatic wonder justice!

PS - Expect my reaction to Up in the Air soon.

Thursday, January 07, 2010

A quick note on Driving Miss Daisy.

I will never forgive Hans Zimmer for that score. Awful!

Thursday, January 07, 2010

The Woman.

SYLVIA FOWLER
I am the man I want to marry.

We can only assume that this man is Jack McFarland (hopefully Debra Messing can pop out numbers easier than she pop out babies). And how we should be thankful for that! Without the camp overload that is Annette Bening's Sylvia, The Women would have simply been a mess. Imagine Julia Lambert trapped in the world of Paris Hilton and you have an idea of the fun, AKA absurdities, that ensue.

Wednesday, January 06, 2010

When I think of snow...

...I think of Fargo.

Wednesday, January 06, 2010

Yeah, yeah, I sort of dabble around, you know?

Wednesday, January 06, 2010

Spot the difference with Aliens.

Colette Hiller, AKA the pilot whose brutal Alien attack leaves Ripley and co. stranded...
and Lady Gaga...
Spot the difference?