Hear the Hurd

HBO's Game Change

I caught the final portion of this film recently and hesitate to watch the rest.  It has nothing to do with the sourcing of the book or film, either.  It has to do with being a faithful adaptation. I read this book and was interested in how it would be presented on screen.  I thought the casting was interesting even though I knew it would be a hit job on every liberals favorite punching bag, Palin.  But when I watched it, I saw nothing of half the book.

Yes, it went into great detail on Palin and her pick.  But a good portion of the actual book covered Obama vs Clinton and some salacious episodes on Edwards that were by then old news.  The National Inquirer somehow reported that story at the time and no one in the major media wanted to check on it.  Apparently that wasn't dramatic enough for this film either.

Thus, this review will be short.  I will give Ed Harris credit for a credible job portraying McCain.  Moore wasn't bad as Palin, but Fey does her better.  And Woody needs to go back to the pipe.  No portrayal of Obama, Clinton, Biden, Edwards or anything else about a large portion of the book.  One has to ask why?  That is all.

2009 Oscar Picks

It is Oscar time again and I'm getting a bit of an early start on my picks.  I've picked over 50% over the past five years (my best being 21/24 in 2004) and hopefully I can keep up with that pace.  I've done some research here and there in which films have won what and now make my best educated guess as to which films will come out on top on February 22nd.  Below are my picks and when the winners are announced, I'll mark those I got wrong.  So let's get to those picks:

Best Picture - Slumdog Millionaire

This seems to be the consensus pick of all the films up for best picture.  This is definitely Danny Boyle's year and I would be very surprised if this film doesn't win.  It's won all the other awards and I don't think we'll see a surprise change on Oscar night.

Best Actor - Mickey Rourke for The Wrestler

I'm taking a heartfelt risk here.  Sean Penn is the safe choice and I think there is about a 50/50 chance for one of these two men to take home the gold.  We may see a split vote here giving the award to Frank Langella, but I am going to go with Mickey.  After comingback from where he has been, this would be great to see and I think The Wrestler is making a late showing amongst voters.  His interview on Charlie Rose the other night certainly did not hurt him.

Best Actress - Kate Winslet for The Reader

After five previous nominations for Winslet and no wins, I have a hard time believing the Academy would give Meryl Streep her third Oscar before giving Kate her first.  Like the above category, there could be a split vote giving the award to Melissa Leo or even Anne Hathaway, but the best actress category isn't as "volatile" as supporting actress usually is.  I've not seen the film, but one could see voters giving Winslet this for not just The Reader but so too her performance in Revolutionary Road.

Best Supporting Actor - Heath Ledger for The Dark Knight

The surprise of the night would be to see someone else take this award.  There is a chance of some backlash over the sure thing that is Ledger's performance, but that would be wrong-headed.  Robert Downey, Jr. would likely be the recipient of any but I foresee Ledger's win here as the surest thing of the night.  What an incredible performance and what sadness that he won't be there to accept.  Further, at least this great film will win one award after being left off (and wrongly I might add) from the Best Picture list.

Best Supporting Actress - Penelope Cruz for Vicky Cristina Barcelona

This is the toughest of the acting catagories, mostly because several other awards have included Winslet's The Reader performance and she's won.  As well, one can never truly accurately pick a lock here.  Best Supporting Actress always throws you for a loop.  But always consider the Woody Allen actress a strong contender.  As well, the voters often like to reward up and coming actresses here.  Tomei gives what I understand is a strong performance but she's already won this for My Cousin Vinny.  There are two performances from Doubt included, though Viola Davis likely has the edge there.  In the end, I'm going with the safe pick of Cruz.

Best Director - Danny Boyle for Slumdog Millionaire

With two of my favorite directors going for this award, it might be a tough call, but Boyle seems to be taking in all the wins.  I've loved this guy's work since Shallow Grave and it will be excellent to see him finally take home an Oscar.  This is pretty much a sure thing.  If Slumdog picks up a lot of the other awards, as I think it will, then he is a sure thing.

Best Foreign Film - Waltz with Bashir

Another pretty sure guess here.  As usual, I've not see any of the films, but this one keeps winning.  I feel pretty secure with this pick.  If it doesn't win, look for The Class to upset.

Best Original Screenplay - Dustin Lance Black for Milk

There is an undercurrent suggesting Wall-E might have a shot here, but I am going to go with Milk as the winner.  It seems to have the backing and Milk was a well considered film.  I went out on a limb and went against Penn in the acting catagory, but without Slumdog to compete with here, I think Milk is the safe choice.

Best Adapted Screenplay - Simon Beaufoy for Slumdog Millionaire

Another award Slumdog competes for and another it wins.  I really don't see how another could possibly win here.  It's the safe choice, to be sure.

Best Cinematography - Anthony Dod Mantle for Slumdog Millionaire

I might as well go with the sweep for Slumdog this year.  It has a lot of backing.  I have not seen much on this catagory but this seems to be a safe pick.  No idea who might upset, though I understand the duo of Menges and Deakens has a shot.

Best Art Direction - Donald Graham Burt and Victor J. Zolfo for The Curious Case of Benjamin Button

Without Slumdog to compete with here, Benjamin Button finally gets a chance to win some awards.  It is the most nominated this year and from what I've seen of the film, it deserves this.  It will pick up some other technical awards this year, to the detriment of The Dark Knight, also nominated in many of the same catagories.  Just no love for the Batman this year.

Best Costume Design - Michael O'Connor for The Duchess

When you have a period piece with lots of fancy dresses, don't pick against it.  It's just that simple.

Best Film Editing - Chris Dickens for Slumdog Millionaire

In a sweeps year, pick the sweeping film.  Thus, Slumdog takes this too.  Of course, I'd like to see The Dark Knight take a victory, but I don't see it happening.

Best Sound Editing - Ben Burtt and Matthew Wood for Wall-E

This seems to me a three way race between Wall-E, The Dark Knight and Slumdog Millionaire, the latter especially given the sweeping nature of its awards night.  But I think the veteren Burtt and the love for the film will give Wall-E the win here.

Best Sound Mixing - Slumdog Millionaire

I'm not going to list all of the peope involved in this but I think here is where we see the sweep taking place.  For the above award, they are looking at sound effects creation wherein here we see the mixing of said sounds into the film itself.  While Wall-E might have a shot here too, I think these two films split these awards.  It is possible that The Dark Knight could sweep the two, giving it a decent night, but look for the sweep.

Best Score - A.R. Rahman for Slumdog Millionaire

He's won just about everything else for this and I think he'll be part of the sweep for the night.  From what I have heard, it is deserving too.

Best Song - "Down to Earth" from Wall-E

With The Boss not competing this year, it is a wide open race.  Both of the other nominees are from the same film so they will likely cancel each other out giving Peter Gabriel a win.  Too bad he won't be performing it on Oscar night but I understand why (they only wanted to give these nominees a short time to put them into a medly and Gabriel refused.)

Best Make Up - Greg Cannom for The Curious Case of Benjamin Button

In the tech catagories, Benjamin Button will do well.  Hellboy II might have a shot, but look for the amazing work in Button to take the gold.

Best Visual Effects - The Curious Case of Benjamin Button

I won't be listing all the people for this either, but suffice to say Button takes another of the tech awards.  The Dark Knight could sneak by, but I don't think so.  The aging process alone in Button seems to deserve it.

Best Animated Feature - Wall-E

This one is pretty easy.  Many felt this to be the best of the year in total so it would surprise me if another broke through here.  It would be silly to pick against it.

And Now The Crapshoot:

Best Documentary Feature - Man on Wire
Best Documentary Short - The Witness from the Balcony of Room 306
Best Animated Short - Presto
Best Live Action Short - Spielzeugland (Toyland)

I actually feel pretty strongly about this other than docu short.  Man on Wire has been winning a lot this year, despite Werner Herzog and Erryl Morris both having films nominated.  And for the shorts, the animated has a Pixar entry which I cannot guess against and the live action short has to do with the Holocaust.  One should know never to bet against that in an Oscar race.  Tried and true always works in the crapshoot.  Let's see how well I do.

Well, that's that.  Hopefully I can get over the 50% threshhold if not more.  I'd like to see me do better than half on the crapshoot.  That always helps the final tally.  The year I got 21 out of 24, I guessed three out of four in the crapshoot correctly.  Return on the 22nd where I will try and live-blog the event.  I do like to watch it though, so it may not be a lively live-blog.  If anything, I'll certainly do a wrap up the next day.  That is all.

The Dark Knight

Had to check out the new Batman movie and decided it was time for a new review.  I could come at The Dark Knight in a couple of different ways, honestly.  Given the amount of hype and hyperbole spilled in internet ink before and after the films release, I would have to say it could be considered a let down.  But when you come right down to it and see the film for what it is, it is a damned good movie.  However, it remains a popcorn flick and those that would have you believe it is Oscar-worthy are engaging in that very same hyperbole mentioned above.  I'm sure they'd like it to be as it is rare that a movie like this gets such consideration but this is not a four star film.  In truth, I'd give it three and half out of five.

What's good?  The performances by everyone but Christian Bale, though even he shines in a few moments.  His Batman is overshadowed at nearly every step of the way by his co-stars.  Even the limited screen time given to Michael Caine shows that the elder actor inhabited his role with more meat and skin.  I'm not sure if this is due to script, though it must be, as Bale is an excellent actor.  He was not given the words to build on.  There is one scene showing what a playboy lifestyle Bruce Wayne lives that gave Bale something interesting to do but for the rest of the film, Bruce Wayne/Batman seems to be reacting to events and characters around him.  But as the star of the film is the Joker, then perhaps that was exactly as Christopher Nolan meant it.

And let's go ahead and get to that star turn - Heath Ledger's Joker is a marvel (pun not intended as this is a DC comic) as the agent of chaos with no desire for form or structure.  He has a scene in which he explains himself and it is note perfect as is his entire unhinged performance.  It is impossible to separate this role and what he does with it from his accidental overdose that occurred just after wrapping production on this film.  It can easily be seen that Ledger put his all into the role and given what he does with it, unfortunately I don't think he was able to leave it behind as easily as one might expect.  His Joker is one of the most evil and unpredictable characters ever presented on screen and to see him inhabit that skin (and perhaps knowing something of the events surrounding the film) it is actually a bit hard to watch at times.  If there is one bit of hyperbole going around that actually is no such thing it is the chance that Ledger might receive Oscar consideration himself.  Even had he not died, I still think he'd receive such consideration.  He is that good.

The other actor receiving much adoration for his role is Aaron Eckhart.  While I generally love the man's work, I just didn't think this was as excellent as so many have suggested.  He's not bad in the role and does much with his later turn (if you know anything about the character of Harvey Dent then I've spoiled nothing here for you.)  But while many have suggested he was the embodiment of good guy with a perfect moral compass, I didn't really see it.  He didn't seem such a "White Knight" that is supposed to compare to Batman's darkness and moral ambiguity.  I just didn't buy it.  Maybe because I know of the eventual nature of the character or that I saw potential for that early on (which may be a credit to the actor) but the turn seemed to occur too easily for me and should have been more of a struggle.

If there was a true weak link at all it was once again in the female love interest though I will readily admit that Maggie Gyllenhaal was much better than Katie Holmes in the previous film.  Gyllenhall's performance wasn't bad so much as they did not give her much to do but be the girlfriend, save for one large role midway through the film.  While the payoff is there for her presence, the presence itself seems superfluous for two films.

There has been much said about the themes presented in the script, especially the duality between The Joker and Batman as well as between Dent/Two Face and Batman.  One might even also include Gary Oldman's superb turn as Jim Gordan vs Batman.  Each of the roles plays off what we see in Wayne's Dark Knight in different ways.  In truth, if there really was a true "good guy" it would be Gordon.  But limited as he is to combat crime in Gotham, the policeman requires the assistance of the vigilante/caped crusader.  One must hand it to the writers and the director that they include such complicated themes into what many would consider just a super hero movie.  But often the super hero world is full of such complicated themes and helps explore real life issues.  This should be no different.

There has been some discussion that Batman is a cypher of some sort for George W. Bush.  I don't know that I buy that as implicit in Nolan's vision, but it is not untoward to consider such an idea.  In truth, Batman must do the unpopular and be comfortable in a less than positive light in order to get accomplished what needs done.  That he takes on the heavy burden of being not just the hero but so too perhaps the villain to some is not far away from what the President must endure to fight his war against terrorists and what is the Joker but terror wrapped in man?

This isn't just a super hero movie, that is for sure.  Many have considered it a crime film wrapped in a super hero cape, and often they consider it one of the best ever made.  Once more, I might consider that hyperbole but to be honest, I need to see the film a few more times before I can make such a judgment.  The movie theater I saw this in did not have the right sound levels, if you ask me, and I missed a decent amount of dialogue at times.  And the run time suggests that there is much to ponder written into the movie.  The themes and denouement require further reflection.  I could easily come back in three months time and give you either a two star rating or bump it up to the full five.  In truth, simply while writing this review, I have convinced myself that it is solidly a four.  See what change a little thinking can bring?

Certainly go see the film, though it has some major violent scenes and this Batman is not even close to the one presented in the previous film Batman Begins.  He is much darker as the title suggests.  While I could do without Bale's raspy voice (at times, it was really quite grating), the full effect of each character working off of each other and in and around a much more fully realized city (in old Chicago) makes for a delightful two hours and change.  If anything, I would suggest not going in with heightened expectations.  Assume you'll get an enjoyable film and then be suprised at how much you really like it.  I might have enjoyed it more had I done so rather than assuming it to be true art and being slightly let down.  But it was still a fun ride and Heath Ledger's Joker is reason enough to see it.  That is all.

The Big Chill

It is difficult to know where to begin with The Big Chill.  There's the great cast, the brilliant choices in music, the witty script and above all else, the huge rewatchability factor.  Most likely, it can be considered Lawrence Kasdan's best film as director and it is certainly his most critically successful work. There are many reasons why.

Let's start by simply looking at the plot.  Old friends reunite at the funeral of one of their college pals after his suicide.  Over the weekend, they attempt to discover why he did so and at the same time re-evaluate their own lives.  Set to outstanding tunes from the 60's and populated by an all-star cast, we have the recipe for a winner.  The script is full of questions left over from the days of radical campus politics and attempts to reconcile with the "me" decade of the 80's.  In the attempt to explain why the radicalism died, the script fails other than to blame it on a "cold world" aka the chill of the title.  However, I took a different idea from that - in many ways, the film shows how idealism of youth almost always disappears with age.  And those that have a difficult time putting away such idealism struggle.

The cast, as mentioned, is incredible.  Kevin Kline, William Hurt, Glenn Close, Jeff Goldblum...on and on.  It's really a who's who of 80's talent.  Even Kevin Costner has a role, though it ends up on the cutting room floor.  He plays the corpse and for the longest time, I felt this role to be his best.  I've since come to appreciate his work.  And the most under-rated actor in the whole film probably has to be Kline.  He's the most talented (in my opinion) and is almost wasted on a role that has little to do but be the rock (along with wife Close) for the rest of the friends to cling to in this time of trouble.  He is subtle and often provides a counter-balance to the other more curious characters.

And the music.  Before Scorsese and others figured out how to score dramatic moments using rock and roll, this film had already done it.  It was not the first, but by all right, may very well be the best practitioner.  There are flawless mixes of action and music that populate the film throughout and the film would be dramaticallly changed without that.

As a genre, it is difficult to place The Big Chill.  It is at once both comedy and drama.  Above all, it is an ensemble piece but not in the sense that say an Altman film is.  It's the ensemble here that must tell the story in a conventional setting but through unconventional means.  One aspect illustrates it well - the affair between the Glenn Close character and Alex, the dead friend.  Never spoken of in great detail, it is mentioned and left alone even though Close brings her emotions regarding this towards almost every scene she is in.  It helps explain why she does certain things near the end of the film and further provides a contrast to the other women, especially Jo Beth Williams.

By being his most difficult film to plug into a ready made hole, perhaps this is what makes The Big Chill Kasdan's most successful effort.  Rather than depend on elements familiar to a certain genre, Kasdan is forced to tell his own story in his own way.  It works.  Humorous, touching, sad and happy - The Big Chill is a great way to spend a few hours.  The music will certainly make you tap your feet, the words and actions of our characters will make you smile and perhaps even cry, and I can guarantee that if this is the first time you watch this film, it will not be the last.  It's a one of a kind.  That is all.

Body Heat

Lawrence Kasdan's debut film is a fine piece of work.  On it's own, it is a mostly tight little neo-noir for the 80's, and seems to have been one of only a few.  Neo-noir did not really take off again until the late 80's and 90's.  There was the success of a few films in the 70's, notably Chinatown, but Body Heat harkens directly back to the noir standard, Double Indemnity.  In fact, it feels almost like a remake in many ways.  But the more impressive feature of this film is the cast.  With any other actors, this film cannot hold together with tone, music and script alone.  But using a young William Hurt and Kathleen Turner certainly helps turn up the heat and hot it is.

The story is fairly straight forward for a noir - beautiful woman uses horny male to cheat her husband and inherit a great deal of money.  Turner shows this almost immediately.  Her Matty Walker is all shape and lust, angles and guile.  She is willing to use any man in any way and plays Hurt's Ned Racine like a fiddle.  For his part, Hurt does not display a weak man completely, but at least weak for the opposite sex and is completely taken with the woman.  He is easy prey.  There are some interesting moments in which certain elements of an old style noir are deconstructed as the motives are explained and the double-cross becomes clear.  But for the most, the actors are given a typical script to work with and elevate the material to showcase the talents that would become apparent.  On it's own, the film is perhaps not forgettable, but simply of a piece alongside other attempts to re-envision a classic style, but its more useful feature is to show the development of its major players - Hurt, Turner and Kasdan.

This was the beginning for all three of them, for the most part.  Hurt had some films under his belt already (notably Altered States) and Kasdan had been writing, but this was Kathleen Turner's first major role and she bit into it hard.  She is a beautiful woman, and never allows the audience forget it.  In many ways, she has been coasting on this performance ever since despite having a fairly healthy twenty some odd year career.  Many of her most famous parts are simply derivations or plays on this role - Romancing the Stone simply takes this role and turns it on its head and her voice-work as Jessica Rabbit plays directly to it.  There is little doubt that her roles distinctly different from this have been few and far between, though to be fair, she is especially good in War of the Roses and Serial Mom.

Hurt's promise is another that seems to have fallen off in recent years.  Though he would have an incredible run during the mid-80's, he has seemingly flown under the radar since.  It has not been for lack of work as he has made plenty of films over the last twenty years, but the roles he plays have not had the same seeming level of care applied to them, with only a few notables to suggest such as his roles in Michael and A History of Violence (though I was not as impressed as some with that part.)

And as for Kasdan, let's just say that this was a very nice start and it is no wonder that studios were willing to go full ahead with him after this debut.  His writing was already a proven thing with this film coming out around the same time as his other major writing triumphs - The Empire Strikes Back, Raiders of the Lost Ark and Continental Divide.  And this film did very well at the box office from what I recall.  The early 80's were still under the drug of post-hippie, disco era free sex without the fear of AIDS.  This film belongs directly in that time period and the audiences ate it up.  The mood is classic noir thriller, but the look is stylized gloss that focuses on the sweat of our main characters, be they having sex or trying to determine how they are being double-crossed.  It's desire is to be dirty while wrapping it all in a clean package.

As a "genre man" it is clear that Kasdan is able to see what works and what does not in past examples of this style and he utilizes it, almost in a workmanlike attempt.  It comes across well because we have talented and pretty people inhabiting the world and perhaps because audiences were starved for this type of story, Hollywood having lost sight of the old style noir.  If I had to give it a star rating, I'd say three and half out of five.  It scores points because of the great cast (including a young Ted Danson and a beautiful Kim Zimmer before she went on to become famous as Reva Shayne on the daytime soap opera Guiding Light) and for the attempt to recreate a classic feel, but loses some due to the clinical feel of the finished product.  Sultry, yes.  But almost as if they tried too hard.  It's worth a watch for the history of it all, but it has a hard time equaling any of the great noirs of the past. 

Next up, The Big Chill.  That is all.

X-Men: The Last Stand

Since I have been rather absent in my blogging duties recently, I thought I would provide a special feature today (along with my other posts.)  I don't go to the movies much anymore, preferring to watch them at home.  However I have recently seen X-Men: The Last Stand (twice in fact) and must recommend it.

This movie has had it's fair share of negative reviews, but has also had a hearty amount of positive reviews to go along with its nice box office numbers.  I fall into the second camp.  I enjoyed it, flaws and all.  And there are some flaws that we will take a look at.  I must admit that I am a big fan of both of the previous films, and certainly of the comic book they are based on.  Though I did not read many comics growing up, X-Men was one of them.  I came in after the Phoenix saga and my team usually consisted of Wolverine, Storm, Rogue, Colossus, Nightcrawler and others, but not Jean Grey, Beast or Cyclops to be sure.  I was pleased when they focused on Rogue and Wolverine in the first film.  I was blown away by the second installment.  And I have followed closely the months that followed that film while waiting for this third chapter.

It was a rushed production, and some elements of that can be seen.  The script is somewhat flat in places and certain special effects could have been handled better (some of the wire work is almost painfully obvious.)  But on the whole, Ratner did a fine job behind the lens and the actors certainly did their work in front of it.  There are those that lament the loss of Bryan Singer from this project as he certainly brought something special to these films that seem lacking in other comic book adaptations.  However, though I see the difference, I do not mind it.  Singer made it a personal story with action thrown on top of that.  Ratner has made an action film that at times focuses on the personal stories. 

To please many fans, there is a large cast of characters, many of which fans have wanted to see for some time.  There is still no Gambit, and unfortunately very little added Colossus (though he does have a larger role here) and sadly, Nightcrawler was not included in this film and Rogue's part was slimmed down considerably.  But to stack the deck with so many other characters, it would have been impossible to include back-story on all of them or give them too much attention, else we might have seen a three hour epic.  Some would suggest that was what they desired, and I might have been perfectly happy watching such.  But I will say that clocking in at just over an hour and a half makes the pacing on this film just about perfect.  The editing does not get in the way, but rather makes the film move quickly along presenting the plot and development, all leading to the final showdown billed in the title.

The plot itself revolves around a mutant "cure" developed by the father of a mutant named Warren Worthington, III (otherwise known as Angel to X-Men fans.)  Though simply offered at first, Magneto makes sure that the government will begin forcing the issue so that all out war comes to pass - something he has desired and worked towards since the first film.  Charles Xavier's X-Men try to stand in his way even though there are some of his students that actually wish to take the "cure" in order to blend in with those normal humans around them, or not be afflicted by their own mutations.  It's an interesting question of whether to change oneself or not, and some have complained that it is not looked at deeply enough.  Perhaps Singer might have spent more time on that, or another twenty minutes of run time might have allowed for time to explore the issue further.  But for me, I found the attention to the question just right.  It is addressed, but not so that it overshadows the action and pacing.

There is a sub-plot, or second plot involving what was hinted at in the closing moments of X-Men United - that of Jean Grey's fate, and her resurrection as The Phoenix.  The path this film takes to show that story is far different from the original saga from the comic, and rightly so.  The universe set up by the first two films would not support the origin story surrounding such a Phoenix.  I won't go into it, but you can research it here if you are unfamiliar with it.  Instead, there is some slightly confusing explanation given by Xavier as to how it inhabits Jean's body/mind and then we are off as the two sides of Jean struggle against one another and those surrounding her.  And it is a highlight of the film.  This may be one of the most on target complaints - that to properly address such a character and situation, they should have devoted this film (and perhaps another) to such by itself.  I can understand that.  But at the same time, I found the way in which it is incorporated to work perfectly and allows for a character that we have learned was good to suddenly join with Magneto and show a much darker side.  And allow me to say that the beautiful Famke Jannsen does some wonderful work here as that character.

In fact, the cast does a super job all around.  Those we are already familiar with from the previous films are back here (with the odd exception of Alan Cummings as Nightcrawler.)  But the added cast make for a more well rounded mutant universe, especially by the twin additions of Kelsey Grammer as The Beast or Dr. Hank McCoy and Ellen Page as the third person to play the role of Kitty Pryde, also known later (but not in this film) as Shadowcat.  Both shine in their roles, though there are some moments that the make-up for Beast could have been better.  But Grammer is perfect for the role and his later moments are a highlight of the film for me.

There is some question (AND SPOILERS AHEAD SO SKIP THIS PARAGRAPH IF YOU DO NOT WISH TO KNOW AHEAD OF TIME) about the role James Marsden as Cyclops plays in the film.  He is only in it a short while at the beginning and is supposedly the first of many destroyed by Jean as The Phoenix.  As I was never a large fan of either Cyclops the character or Marsden playing him, it does not bother me in the slightest, and those few moments he does have work extremely well.  But I can understand the complaints as Cyclops is/was the leader of the X-Men, especially in Xavier's absence, and would have been the likely person to lead during the final battle.  However, when I took on the comic, Storm was the leader, and Berry certainly has a beefier role this time around.  Personally, I think she plays it right.  Some disagree, but she inhabits the Storm I know as well as it could be done on screen without becoming laughable.

In fact, the only quibble I have with any of the characters is that Wolverine seems tamer in this film.  It may very well have been a conscious decision, but if so a poor one.  Wolverine is feral and only gets to show that once, in my opinion.  Never does he utter "bub" though he does have some humorous moments with Beast and one early on that makes me laugh every time.  But he seems too laid back and calm - not near as ferocious as Wolverine should be.

McKellan shines as Magneto - the most evil we have seen him yet.  Romijn has few moments but plays them to the hilt as Mystique, including a heartbreaking moment with Magneto.  And Stewert has an amazing role this time around.  His Xavier is far more complicated than we have yet seen him, and his fight with the Phoenix is memorable to the point of being unforgettable.  You will be moved if you care at all about these characters.

The much talked about Vinnie Jones casting as Juggernaut does not come across quite as might be expected, but it seems to work for the limited amount of time he is on screen.  And here is another situation in which it would have been difficult to utilize the real back story of this character.  In truth, Juggernaut is not a mutant but has powers because of a special crystal (and is also Xavier's step-brother.)  I do have one quibble with a line of dialogue he uses, not because it disturbs me but that it seems superfluous though there is a payoff with the response he gets because of it from Kitty.  However, I think the script could have cut it without any adverse effects and it seemed jarring. 

And on that note there are a few others lines of dialogue that are weak and could have been punched up by another pass.  However Beast's seemingly odd line is not to a true fan of his character.  You will know it when you hear it.  Other than that, however, the film scores a hit.  The film score, in fact, is top notch in my opinion rising when it needs to and slightly off kilter at moments when the action on screen demands it.  There is a definite theme and it fits this world perfectly.  The sound mixing could have been better as could some of the editing cuts, but I would put this perhaps on the theatre I saw it in rather than the actual film.  It will be interesting to see the DVD.  Some people just don't know how to splice anymore...sigh.

On the whole, this is a great summer action blockbuster.  It may be a step down from the second installment, but that was slightly expected given that it was rushed to the screen (14 months is probably not long enough to take from idea to the screen for a film like this, especially after what was hinted at from the ending of the second movie.)  However, this film is certainly a step above the first film and wonderfully meshes with the feel and world built by Singer.  It plays extremely well as the third in a trilogy, as it should as that is what this is.  The title, action in the film, and "word on the street" suggest that this will be the last of this series, at least involving the cast we have known thus far.  I certainly hope it is not the last ever of an X-Men film as that world has an infinite amount of source material to pull from and could churn out films from now until the end of time seemingly.  It would be a stupid move by Fox if they did end it here completely.  But with all that said, this film delivers and does so with both sorrow and joy.  You should be moved and you will certainly cheer.  And if anything else, you will see one of the better films made thus far this year, though that is not saying much considering what Hollywood gives us.  Go see it today. 

I have added some discussion of more spoiler specific elements in the comment section.  Do not read that first comment if you do not wish to have the film spoiled for you.  That is all.

Posts on the Academy Awards

Since I seem to post on this event every year, I thought I would create a place to gather them all in one easy to read area and what better place to do that than a featured post.  So what follows is a listing of all of my posts on the subject, including my picks and the after-post the day after the awards.

Oscar Nominations (for the films of 2003)

2004 Oscar Picks

76th Academy Awards (2004)

Oscar Nominations (for the films of 2004)

Some Oscar Nomination History

The Academy Awards and Johnny Depp

Oscarblogging

Oscarblogging II

2005 Oscars - Has it Jumped the Shark?

2005 Oscar Picks

Oscarblogging III

Oscarblogging IV - Burton and O'Toole

77th Academy Awards (2005)

Oscar Nominations (for the films of 2005)

2006 Oscar Picks

Oscarblogging - Robert Altman and Directors

78th Academy Awards (2006)

Oscar Nominations (for the films of 2006)

Oscarblogging Redux: Peter O'Toole and Martin Scorsese

2007 Oscar Picks

79th Academy Awards (2007)

Oscar Nominations Announced (for films of 2007)

2008 Oscar Picks

80th Academy Awards (2008)

Oscar Nominations Announced (for the films of 2008)

2009 Oscar Picks

81st Academy Awards (2009) - Live Blog

Oscar Nominations Announced for Films of 2009

2010 Oscar Picks

82nd Academy Awards (2010)

As my blog progresses and I add more posts on the subject, I will add them here.  That is all.

2005 Oscar Picks

Well, it's that time again.  Tomorrow night we will see who wins the awards and who goes home empty handed.  Last year's picks went pretty well for me, though I admit to getting lucky in some of the crap-shoot catagories.  The show starts at 8pm (ET) and who knows when it will end.  And I've already voiced my displeasure at some of the ways Gil Cates has tried to ruin the whole thing, so let's not go back into that.  You can find a complete list of the nominations here.  Below, you will see my picks for who will win and some additional commentary if there is something to say about it.  So let's get to it, shall we?

Best Picture - Million Dollar Baby (Winner - Million Dollar Baby)
This has to be one of the toughest years to choose who will take home the statue.  I have vacillated over and over about this, going between Million Dollar Baby and The Aviator, but in the end I think there will be a rare split between Picture and Director.  See below for my reasoning on Director, but Clint's boxing pic will take the gold in this catagory, despite The Aviator seeming to be the type of epic film the voters love to award.  It's a tough call, and the two front runners could split the vote giving the award to Sideways or even Ray, but I think this will be the end result.

Best Actor - Jamie Foxx for Ray (Winner - Jamie Foxx for Ray)
I think this is probably the safest bet for the night.  Foxx has won just about every other award during the season and I see no reason why this one will turn out differently. It was a great performance and Foxx deserves this.  Plus, I imagine his acceptance speech will equal the one from the Golden Globes.  It's this man's year.

Best Actress - Hillary Swank for Million Dollar Baby (Winner - Hillary Swank for Million Dollar Baby)
Another tough catagory to pick.  Swank has won the bulk of the awards, but Bening gives her some competition.  Plus, they could cancel each other out and send it to someone like Imelda Staunton for Vera Drake, but look for Swank to end up two for two in the Best Actress catagory leaving Bening without an award yet again.

Best Supporting Actor - Morgan Freeman for Million Dollar Baby (Winner - Morgan Freeman for Million Dollar Baby)
I'll give you that this is the sentimental pick, but it has roots in reality.  Freeman won the SAG award for this and he as never won before.  The Academy loves to award old timers and Freeman certainly falls into that catagory, but this is no mercy choice - I understand he is deserving.  Look for tough competition from potentially Clive Owen (my choice for the next James Bond) who won the BAFTA and Golden Globe, but if there is a dark horse, it may be Thomas Haden Church for Sideways.  If anything, Church may win to make up for the snub for Paul Giamatti in the Best Actor catagory.  But in the end, I think the award goes to Freeman.

Best Supporting Actress - Cate Blanchett for The Aviator (Winner - Cate Blanchett for The Aviator)
Another tough one to call.  I understand that Virginia Madsen has strong support and that Sophie Okonedo is a dark horse here, but in the end I think Blanchett takes the Oscar home.  All I hear are raves about her performance and if anything, it gives the Academy one more chance to remember Kate Hepburn. As for Portman, I think the nomination may be her reward even after taking home the Golden Globe, but this is a notoriously shocking award (think Marisa Tomei for My Cousin Vinny.)  It could go almost any way.

Best Director - Martin Scorsese for The Aviator (Winner - Clint Eastwood for Million Dollar Baby)
And now we get to the split.  As much as Eastwood appears to be the front runner here, I think the Academy will award Marty for his long-standing work rather than for this film.  Not that his achievement is not noteworthy, but it certainly is not his best film or best work.  Eastwood took home the DGA award for this, but tomorrow look for Marty to win his first Oscar.  If he doesn't, I may have to stop watching this show.  Besides, I think Eastwood will get his credit with the picture vote above.  Remember, only directors vote for this one, and everyone votes for Picture.  And I cannot discount Eastwood and Scorsese splitting the voting opening up a way for Mike Leigh to win.  If Marty can't win, that is how I would prefer it to go.

Best Foreign Language Film - The Sea Inside (Winner - The Sea Inside)
Actually, this is another tough choice.  I think the toughest competition comes from France's The Chorus as a sentimental pick, but The Sea Inside has picked up awards elsewhere and seems to be the most talked about film on the list.  I'm still wondering why The Motorcycle Diaries did not get a nomination here, not because I liked the film (I have not seen it) but it seems to be the critic darling.  I'm sticking with my choice.

Best Original Screenplay - Charlie Kaufman, Michel Gondry and Pierre Bismuth for Eternal Sunshine of the Spotless Mind (Winner - Eternal Sunshine of the Spotless Mind)
If anything, this will win because it should have been in the running for Best Picture.  It was certainly the best film I saw in 2004.  But there is also the love for Kaufman in Hollywood and this is their way of rewarding his admittedly great work. Why he did not win for Adaptation, I will never know.  I really don't think there is much competition here as Vera Drake was actually written after the fact (Mike Leigh does mostly improvisation during his films and then puts it down on paper afterwards) and I don't see The Aviator taking this one home.

Best Adapted Screenplay - Alexander Payne and Jim Taylor for Sideways (Winner - Sideways)
As much as I think Million Dollar Baby has a shot here, I think this will be where the Academy awards Sideways.  Often you will see a film not really in the running to win the Picture catagory winning in the screenplay catagory as a consolation prize.  This was a critic's darling this year and I think the writers will follow along by awarding Payne.

Best Cinematography - Caleb Deschanel for The Passion of the Christ (Winner - The Aviator)
I will admit that this is a sentimental pick for me, not because I loved the film so much (though I did) but because I have always admired Deschanel's work.  The Aviator could easily pick up this prize, but in the end, I think The Passion of the Christ takes it home.  I'm willing to take the risk of getting it wrong.

Best Art Direction - Dante Ferretti and Francesca Lo Schiavo for The Aviator (Winner - The Aviator)
Thus begins what I think will be a good night for The Aviator in the technical awards catagories.  I really don't think there is much competition here so by default, The Aviator takes it home.

Best Costume Design - Sandy Powell for The Aviator (Winner - The Aviator)
And it picks this one up too. There is a chance that Finding Neverland might take this home, and even an outside shot for Troy if you ask me, but look for The Aviator to win here as well.

Best Film Editing - Thelma Schoonmaker for The Aviator (Winner - The Aviator)
Again, part of their near sweep and a deserved award for a long-time Scorsese team player.  Plus, it will be interesting to see that bobbing head of Schoonmaker's as she accepts the award.  Will this be one given out in the audience? Methinks it will.  Not much other competition unless Million Dollar Baby goes on a sweep run.

Best Sound Editing - Michael Silvers and Randy Thom for The Incredibles (Winner - The Incredibles)
This seems to be the all around favorite here and I see no reason to disagree.  Interestingly enough, Thom is up for two films in this catagory - his other nomination for The Polar Express which will not win.

Best Sound Mixing - Tom Fleischman and Petur Hliddal for The Aviator (Winner - Ray)
Another technical win for the night.  There is a chance that The Incredibles might take this too, but I doubt it.  The only reason The Aviator does not win Sound Editing is because it is not nominated.

Best Original Score - Jan A.P. Kaczmarek for Finding Neverland (Winner - Finding Neverland)
I admit that this was a tough one to pick this year. You have perennial favorite John Williams for Harry Potter and I think John Debney's work on The Passion of the Christ was exceptional, but I think Finding Neverland will avoid the shut out here.  As well, I have heard a snippet or two from the movie and it is very nice and certainly deserving.

Best Original Song - "Accidentally In Love" from Shrek 2 (Winner - Al Otro Lado Del Rio from The Motorcycle Diaries)
I have to admit, I was lost trying to pick this one this year.  The Adam Duritz tune is very catchy though.  I would think there might be some support for Andrew Lloyd Webber and the music from The Chorus is quite strong as well, but I think the Counting Crowes front man takes this one home.

Best Make-Up - Keith Vanderlaan and Christien Tinsley for The Passion of the Christ (Winner - Lemony Snicket's A Series of Unfortunate Events)
I really don't see how any other film could win here.  The make-up in Mel Gibson's film is sublime, and heart-wrenching.  I know it's no consolation, but if The Passion of the Christ wins at all, it will win here.

Best Visual Effects - Harry Potter and the Prisoner of Azkaban (Winner - Spiderman 2)
I didn't list the myriad of people above simply because there are too many, but this film is far and away the finest of the three up for this catagory. Watching that Hippagryph (sp?) fly over the water was something else and this wins, hands down.

Best Animated Feature Film - The Incredibles (Winner - The Incredibles)
Another easy pick.  From what I understand, Shark Tale does not even belong in the running and The Incredibles is far and away the finest of the bunch.

And now begins the always difficult part - the crapshoot.  As usual, I've hardly ever seen anything in the running here save the odd documentary or short.  Though I have seen Super Size Me (and it was good), I don't think it will win.  Below are my picks:

Best Documentary Feature - Born Into Brothels (Winner - Born Into Brothels)
Best Documentary Short - Autism Is A World (Winner - Mighty Times: The Children's March)
Best Short Film, Animated - Birthday Boy (Winner - Ryan)
Best Short Film, Live Action - 7:35 In The Morning (Winner - Wasp)

Well, there you have it - down on the page and for the whole world to see.  I really don't think I will do as well as I did last year, but one can hope.  Tune back in Monday morning too see if I equaled the previous year or was entirely wrong.  And Go Marty!  That is all.

Still Crazy

One of my favorite films of the last ten years is Still Crazy directed by Brian Gibson and starring Stephen Rea and Bill Nighy among other people. The film tells the story of a 70's rock band since put out to pasture and reuniting for one last chance at stardom. The tone of the film is one of approaching or current middle age and how these once drug taking, women shagging, rock and rollers handle this new found stardom and/or exposure.

It goes through the trials and tribulations of their reunion and rekindles all of the old animosities from their original encarnation, as well as reintroducing their artistic guide back into the mix by the end. There is not much spectacular about the cinematography or set design, because the film is really about the performances. Stephen Rea aquits himself nicely as the once keyboardist and now ringleader of getting the band back together. Jimmy Nail is the bassist who still worships the band's orginal song writer and leader. Timothy Spall is the drummer who is forever running from a devoted fan, who he thinks wants his money and Billy Connelly and Juliet Aubrey are the roady and manager for the original band, one that only wishes to see how badly they will bollocks it up once again and the other a true devotee to the bands eternal sound and character.

But above all else is the perfomance of Bill Nighy. He is the one time front man and now middle aged AA attending, spiritual sounding has been. His performance brings this entire movie into focus. It is through him that you really see the sad state that these men have found themselves in, and his performance is dead on. From his soft spoken demeanor to his bombastic attempts to recreate his once outragious perfomances, he tackles this character with gusto and really puts the entire story into perspective.

I have always been a huge fan of British cinema and the British spoken word. These actors inhabit their characters as if they really were a band from the 70's. Much like Spinal Tap, they sing their own songs and make an attempt to create a fictional band that any one of us may remember and enjoy until this day. They are spot on in their portrayels and it is not out of the question to think that this band really did once exist. Further, the music that comes out of this film is outstanding, especially the song The Flame Still Burns.

Their fictional journey to refind themselves, as well as bring back a long lost member is a touching story, and one cannot be disappointed with the music they create in between. There is nothing overtly spectacular about this film, but it is a sure pleasure to watch. There are times of sadness, joy, excitement and humor. Each member has his own journey to pass through, and the end result is as satisfying as it could possibly be.

It's a small film from 1998 that probably got little attention at the time, but I recall loving it the first time I saw it, and rewatching it now it only made me appreciate what a wonderful little film it really is. I loved Nighy in Love Actually, and if you did too you will love seeing what perhaps that character was up to in the 70's and perhaps today. Stephen Rea is one of the most underrated actors of today, and he is the glue (along with Juliet Aubrey) that keeps the hope alive for this band. There are many wonderful, tearful, humorous and tense moments to savor. There is simply no reason not to watch and enjoy this film. If you like 70's rock and roll, British film or a great story, you will not be disappointed in what you get with this movie.

Most likely forgotten today, Still Crazy is the full narrative to Spinal Taps faux documentary. It is a wonderful suggestion of what might have happened to all of those bands you know and love. Where are they today? Easily, they could be doing the exact thing this band does, and you will certainly be thrilled by their reunion, music and interaction. If you have never seen it, go out and rent it today. It is simply marvelous. That is all.

Young Frankenstein

Having recently re-watched the film Young Frankenstein, I realize now what a wonderful thing this weblog of mine is. It is was started precisely for occasions like this, to talk about, or rethink, something that deserves such attention.

Mel Brooks' Young Frankenstein is simply one of those films that deserves recognition. This movie is Mel Brooks finest effort, and strangely enough (or telling) it was not his idea in the first place. This movie was the brainchild of Gene Wilder. It was his first venture as a screenwriter and, with the collaboration of Brooks, has become a classic of cinema.

The film itself is a simple parody of the original Frankenstein directed by James Whale. What I find most striking about the satire, is that it is much more effective because it does not attempt to put down what it is satirizing, but has a great respect for it's subject. It's not making fun of the original, but rather having fun with the Boris Karloff classic. The best satire works exactly this way.

The cast is phenominal. Gene Wilder plays the lead as the successor to his relative's original work on re-animating life. His look and tone are picture perfect. I cannot recount the number of times I see a certain glint in his eye, a slight tear of respect or awe towards his creation. Gene Wilder has so many wonderful films, but this performance challenges his best work in The Producers, Blazing Saddles, Willy Wonka and The Chocolate Factory and The Frisco Kid.

Joining him are Cloris Leachman as the dominating Frau Blucher (sound of horses neighing), Teri Garr in a wonderful perfomance with a spot on German accent as the lab assistant and later love interest, Kenneth Mars in a strange and absolutely original role as Inspector Kemp (and arm), and Gene Hackman in a cameo of sorts playing the blind man that takes the creature in and pours soup in his lap.

But outside of Wilder, the movie is stolen by three members. First up is Peter Boyle, who at this point had made a name for himself, but with this performance really showed some range and beautiful instincts as an actor. What he does with the creature is truly brilliant and in many respects makes the film. It is the way he portrays this character that ties directly into the original Shelley novel. It is what he does with this role that makes this more than just simple parody and turns the film into the classic that it is.

Second, one must mention the work done by Madeline Kahn (God rest her soul.) She has many wonderful films to her credit, but this was her masterpiece. She chose to take the part of the fiance rather than the part later filled by Garr. She portrays this character with camp but never so much as to over-play it. Many have never fully appreciated the true comedic genius of this woman, and in this film she shows why it should be appreciated and does it with beauty and style that I never truly appreciated myself. Some of her lines are spoken with perfect quality, and her moment when the creature has his way with her is a highlight of the film.

Lastly, the work of Marty Feldman must be singled out. Since passed away, this role must be looked at to truly appreciate his own comedic talent. This was his first major breakthrough to American audiences, and though the rest of his career would never really represent the talent he held, this film showcases it in spades. Gene Wilder has called him the heart and soul of Young Frankenstein and with reason. From his hump changing shoulders from scene to scene, to his occasional outbursts of insanity (his remeniscing about his father yelling at him in the bathroom or his spot-on Groucho Marx), Feldman frankly steals the show. I mean, come on..."Abbe someone....Abbe Normal, I think it was." Simply classic!

The feel of the movie is something to behold as well. As mentioned, it has a love for it's subject matter, and not just for the film it attempts to parody, but for the original novel as well. I feel that it perfectly captures the spirit of Mary Shelley's Frankenstein, one of my favorite books. The creature is represented as just that - a creature rather than a monster. In the book, he has a refined quality to him, and in this movie he goes so far as to do a tap dance number to Irving Berlin's Puttin' on the Ritz. The cinematography is incredible, paying true homage to the orginal film, while hightening the comedic elements where it can. The fact that it was filmed in black and white is key. Most studios were finished with that style at the time, but Brooks was adament. He refused to direct if it was not filmed as such. Had it been in color, I dare say it would have been a completely different film and certainly not near as great.

The music is not only beautiful, but necessary as a player in the film. The costumes and set are subtle yet perfect, to the point of actually using the original lab sets from the orginal Frankenstein. And obviously the script, originally written by Wilder and perfected by Brooks, perfectly captures the style, feel and tone of the original while paying tribute in a brilliantly comedic way.

All in all, Young Frankenstein is a masterpiece of film making. This collaboration between Brooks and Wilder stands the test of time to remain a classic, probably more so than any other film either of them did in their history. I am constantly amazed when watching it as I notice little tidbits here and there, laughing at things I had either forgotten or just seen for the first time and truly awed by it's respect and tenderness to the story being told.

If you have never seen this film (perish the thought) then you MUST go out and rent it today. In fact, buy it because you will watch it over and over again for the rest of your life. It is that good. It is a true classic of American cinema and should be watched and appreciated by everyone. That is all.