The Good Dinosaur
A film that has some promising elements and which often seems as if it is on the verge of evolving into something wonderful but never…
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
Amy Winehouse's "Frank"; "Mr. Robot" is the spiritual successor of "Fight Club"; "Pride and Prejudice and Zombies" director Burr Steers; Uncertain future of film criticism; Joe Gibbons goes to prison.
The July 2015 edition of The Unloved looks at Andrew Dominik's "The Assassination of Jesse James by the Coward Robert Ford."
Ben Kenigsberg hazards a few guesses as to what the Coen brothers' jury might pick.
Scout Tafoya and Olivia Collette make the case for Alexandre Desplat's score for "The Grand Budapest Hotel" to win the Oscar on Sunday with a fantastic video essay.
The official nominees along with some fun facts about this year's crop.
May 2014 Blu-rays of note.
What were the surprises, snubs and twists of today's Oscar nominations?
Michael Haneke's "Amour," which won the Palme d'Or last May at Cannes, was voted Saturday the best film of 2012 by the prestigious National Society of Film Critics. The award, coming on the eve of voting for the 2013 Academy Awards, confirms "Amour" as a Best Foreign Film frontrunner. Other NSFC winners will also draw welcome attention.
"Skyfall" is a theatrical film in the same way that its director, Sam Mendes, is a theatrical filmmaker. That is, its approach to organizing space for an audience (the camera lens) is noticeably stagey. I mean that in a "value-neutral" way. I just mean the frame is frequently used as a proscenium and the images are action-tableaux deployed for a crowd -- whether it's the designated audience surrogates in the movie (bystanders or designated dramatis personae), or the viewers in the seats with the cup-holders. That's not to say it's uncinematic (it's photographed by the great Roger Deakins!), but many of the set-pieces in "Skyfall" are conceived and presented as staged performance pieces.
I find it mind-boggling that something as trivial as an action film series could become such a constant presence in my life but that's been the case with the James Bond movies. It's not so much that their span happens to equal mine (to the very week, by the way) as I didn't start following them until I was 9 years old -- but ever since, they've always been around one way or another: from big theatrical openings to re-re-releases in the beat up movie houses of old; from Betamax tapings of network T.V. broadcasts (pausing the machine to edit the commercials), to the great looking discs of today. Every couple of years or so they have made their appearance and I've watched each one dozens of times regardless how good or bad they were, an odd fact for which I've had no reasonable explanation.
Streaming on Netflix Instant
When I watched "The Intouchables" (2011) at the local movie theater several months ago, I got a nagging dissatisfaction with that crowd-pleaser, which was about the warm friendship between a disabled man and a caregiver hired by him. The movie was surely a pleasant drama with two amiable lead performances, but I found it too mild and superficial; it merely loitered around thin stereotypes and worn-out clichés and it went no further than that.
• "The Outer Limits" (original series) is available on Netflix (DVD), Hulu Plus and Amazon Instant Video. • "In Cold Blood" is available on Netflix (DVD and Blu-ray) and Amazon Instant Video. • "Cool Hand Luke" is available on Netflix (DVD and Blu-ray) and Amazon Instant Video. • "American Beauty" is available on Netflix (DVD and Blu-ray) and Amazon Instant Video. • "Road to Perdition" is available on Netflix (DVD and Blu-ray).
by Jeff Shannon Eyes Wide Open: A Single Artist's Vision
Ask anyone who's devoted their life to the study and appreciation of movies and they can probably tell you exactly when they were "bitten by the movie bug," that moment of personal epiphany that sparked an all-consuming passion for what is arguably the greatest, most powerful medium of artistic expression.
In my case, it was Stanley Kubrick's "2001: A Space Odyssey" that literally changed my life. That's an influential milestone I share with many cinephiles who came of age in the 1950s and '60s, especially those "movie brats" (among them James Cameron, George Lucas and Steven Spielberg) who were drawn to imaginative visions of the future. Because I'd spent most of my childhood outdoors or casually enjoying Disney films and other kid-friendly fare, I didn't see Kubrick's visionary masterpiece until it played a return engagement at Seattle's glorious Cinerama Theater, in 1971, when I was nine years old.
(With its huge, curved Cinerama screen, the Cinerama is still the only theater in Seattle capable of showing "2001" as Kubrick intended. It exclusively hosted the film's original 77-week Seattle run beginning in April 1968, and the fully restored 70-millimeter print of "2001" had its world premiere there, appropriately enough, in 2001, two years after the aging cinema was purchased and beautifully renovated by Microsoft co-founder Paul Allen. It's now one of only three theaters in the world -- along with the Cinerama Dome in Los Angeles and the Pictureville Cinema in Bradford England -- equipped to exhibit three-panel Cinerama, requiring three synchronized projectors for the only seven films created in the three-strip Cinerama process, including 1956's "This Is Cinerama" and 1962's "How the West Was Won." Starting this week [Sept. 30th] and running through mid-October, Seattle's Cinerama is hosting a "70mm Festival" of 15 films, including "2001," that originally premiered there.)
Like no other film before it, "2001" opened my eyes to the power of a single artist's vision and led me to understand the supremacy of a great director. I didn't know it then, but I'd discovered the basis of auteur theory, and while it would be foolish to deny that film is (to echo that award-acceptance cliché) the most collaborative of all art forms, it's no contradiction to embrace the Kubrick quote that greets all visitors to kubrickfilms.com, Warner Bros.' authorized Kubrick website: "One man writes a novel. One man writes a symphony. It is essential for one man to make a film." (Disregard "man"; Kubrick would've been the first to include female filmmakers in his statement.)
It's a wrap for the 2010 Muriel Awards, but although the winners have been announced, there's still plenty of great stuff to read about the many winners and runners-up. ('Cause, as we all know, there's so much more to life than "winning.") I was pleased to be asked to write the mini-essay about "The Social Network" because, no, I'm not done with it. (Coming soon: a piece about the Winkelvii at the Henley Gregatta section -- which came in 11th among Muriel voters for the year's Best Cinematic Moment.)
You might recall that last summer I compared the editorial, directorial and storytelling challenges of a modest character-based comedy ("The Kids Are All Right") to a large-scale science-fiction spectacular based on the concept of shifting between various levels of reality/unreality -- whether in actual time and space or in consciousness and imagination. (The latter came in at No. 13 in the Muriels balloting; the former in a tie for No. 22.) My point was that, as far as narrative filmmaking is concerned, there isn't much difference. To illustrate a similar comparison this time, I've used a one-minute segment out of "The Social Network" (Multiple levels of storytelling in The Social Network). You might like one picture better than the other for any number of reasons, but I find their similarities more illuminating than their differences:
On the day the Oscar nominations were announced, I made some quick guesses and toyed with the possibility that “True Grit” (2010) might sneak in. I've changed my mind and now agree with the conventional wisdom that “The King's Speech” will be the year's best picture winner. Still, “True Grit” or “The Social Network” could pull off an upset. You might want to consider that when entering the $100,000 Outguess Ebert contest this year.
There are two of them that matter most to me, I think -- and not in the Best Picture category. ("The King's Speech" over "The Social Network"? Really? I can only shrug. Forget it, Jim -- it's the Academy...) I'm much more interested in seeing Roger Deakins and Skip Lievsay get their due recognition. DP Deakins, unquestionably one of the handful of great cinematographers working today, is nominated for "True Grit" (2010) -- his ninth nomination in 16 years, and he has yet to win. How can this be? For the record, here are the films for which he has been nominated by the Academy: "The Shawshank Redemption," "Fargo," "Kundun," "O Brother, Where Art Thou?," "The Man Who Wasn't There" (black-and-white widescreen, my favorite format), "No Country for Old Men" and "The Assassination of Jesse James by the Coward Robert Ford" (both in the same year!), "The Reader" (co-nominated with the also-great Chris Menges, who should have won for "The Three Burials of Melquiades Estrada") and now, "True Grit." (What? No nomination for "A Serious Man"?!?!) He also photographed "Sid and Nancy," "Stormy Monday," "Mountains of the Moon," "Homicide," "Barton Fink," "The Secret Garden," "The Hudsucker Proxy," "Dead Man Walking" and "The Big Lebowski," among many others.
Watch the impressive featurette/interview above for a few examples of Deakins' brilliance (and, for once, that term is actually intended to refer to the intensity of light!).
The Carpetbagger has a short interview with Deakins today, too (which contains spoilers, although this excerpt does not):
The 83rd Annual Academy Award nominations were announced Tuesday at the Academy of Motion Picture Arts and Sciences in Beverly Hills, Calif.
The 2011 Oscar race seems to be shaping up among the King of England, two nerds, and Rooster Cogburn. "The King's Speech," about George VI's struggle to overcome a stammer, led all nominations with 12. The nerds won eight nominations each for "The Social Network," the story of the founder of Facebook, and "Inception," about a man who hacks into other people's dreams. "The Fighter" followed with seven.
Like all film critics, I wait until the last possible moment to make my annual Academy Awards predictions. I ask around, I read, I ponder. I'll do that again this year. But today I'm making my Early Guesses, so you can get a head start at outguessing me in our $100,000 Outguess Ebert Contest.
Above: Best supporting actress winner Olivia Williams, "The Ghost Writer."
"The Social Network" has swept the major critics' groups honors (following NY and LA) with its best picture award from the National Society of Film Critics. From the NSFC website:
The Society, which is made up of 61 of the country's most prominent movie critics, held its 45th annual awards voting meeting at Sardi's Restaurant in New York City. 46 members voted. Scrolls will be sent to the winners.
BEST PICTURE *1. The Social Network 61 2. Carlos 28 3. Winter's Bone 18
BEST DIRECTOR *1. David Fincher 66 - The Social Network 2. Olivier Assayas 36 - Carlos 3. Roman Polanski 29 - The Ghost Writer
BEST ACTOR *1. Jesse Eisenberg 30 - The Social Network 2. Colin Firth 29 - The King's Speech 2. Edgar Ramirez 29 - Carlos
BEST ACTRESS *1. Giovanna Mezzogiorno 33 - Vincere 2. Annette Bening 28 - The Kids Are All Right 3. Lesley Manville 27 - Another Year
According to the Los Angeles Film Critics Association and the New York Film Critics Circle, the two best films of 2010 are David Fincher's "The Social Network" and Olivier Assayas's "Carlos." I've no quarrel with that. In fact, those two movies are at the top of a list I made for a critics' poll that will be published any day now because they're both masterful, multi-layered works that I found as stimulating to think about as they are engrossing to watch. Both the LA and NY groups chose "The Social Network" as best picture and "Carlos" as best (and most) foreign-language film -- all five and a half hours and 11 languages: English, French, German, Spanish (with a Venezuelan accent), various dialects of Arabic, Russian, Hungarian, Italian... LAFCA left no doubt about its esteem for both movies, with "Carlos" coming in as first runner-up for best picture and Fincher and Assayas sharing the director's prize. (Both groups also gave "Black Swan" their best cinematography prizes.)
Complete lists of the winners are below, but I wanted to take this opportunity to make some comparisons between these two movies. No, I don't think either of them has much to do with "realism," but both build their disputed nonfictional narrative webs around rather opaque, fictionalized central characters who are seen as heroes by some, villains by others, and neither by the movies themselves. Both "Carlos" (the revolutionary alias of Ilich Ramírez Sánchez, played by Edgar Ramirez) and "Mark Zuckerberg" (the Facebook founder played by Jesse Eisenberg) are projections -- like profiles compiled by intelligence agencies or... Facebook pages. Either film could begin with a version of these words, which preface each of the three parts of "Carlos":
This film is the result of historical and journalistic research.
Because of controversial gray areas in Carlos' life, the film must be viewed as fiction, tracing two decades in the life of a notorious terrorist.
His relations with other characters have been fictionalized as well.
The three murders on Rue Toulier are the only events depicted in this film for which Ilich Ramirez Sanchez was tried and sentenced.
The Drugstore Publicis bombing is still under investigation.
LOS ANGELES -- I wonder what this might mean. "Precious" did about as well as it possibly could have Friday might at the Independent Spirit Awards. It won for best picture, best actress (Gabourey Sidibe), best supporting actress (Mo'Nique), best director (Lee Daniels) and best first screenplay (Geoffrey Fletcher). Supporting actor Lenny Kravitz was in the house, but couldn't win because he wasn't nominated.
The first time I made a year-end list for Scanners, I did it by suggesting double-bills of 2006 films with older films (much like what contributors to The Auteurs did this year). In 2007, I made my first year-end movie, inspired by "L'Eclisse," as a tribute to the late Michelangelo Antonioni and a commentary on the WGA strike that was happening at the time. Last year, the concept was based on a shot of Hannah Schygulla, Goddess of Cinema, waking up, looking into the camera (in Fatih Akin's "The Edge of Heaven") and dreaming fragments of the films on my list.
This year, I'm not quite sure how it came together (see opening title), but I took my cue from my favorite movie of the year, the Coens' "A Serious Man." I knew I didn't want to adhere to any rigid countdown hierarchy this time, but to let the movies converse with themselves through images. I chose the word "conversation" knowing there would be no dialog except at the very beginning and the very end, with the Jefferson Airplane song "Somebody to Love" (recurring element in "A Serious Man") in between. That gave me approximately 2 minutes and 58 seconds for the montage....
John Patrick Shanley's comical film of his four-character Pulitzer-winning play "Doubt" is a flamboyantly theatrical sermon on the virtues of conviction. It should be seen in conjunction with a reading of Malcolm Gladwell's best-selling "Blink" because, no matter what the dialog may tell you, it's more an affirmation of gut instinct than an exploration of the title commodity.
You can see why all the adult principals -- Meryl Streep as Sister Aloysius, Philip Seymour Hoffman as Father Flynn, Amy Adams as Sister James and Viola Davis as Mrs. Miller -- have been nominated for Oscars (but is Hoffman's a supporting performance or the male lead?). This is juicy stuff, played to the hilt as you'd expect -- and as much for laughs as for melodrama (which I hadn't expected, but which came as a happy surprise).
If it remains more of a theatrical experience than a cinematic one (despite being photographed by Roger Deakins), that's probably because Shanley's ambitions are limited to delivering the "movie version" of his own hit play. I can imagine "Doubt" working more convincingly in the abstract setting of the stage (though I haven't seen it performed that way), where it sported the subtitle: "A Parable." But there's no doubt it's a bake-sale bonanza for the movie actors, who give overtly stylized performances in realistic settings, all goosed-up with stage flourishes -- thunderstorms and balcony-pitched arias and surprise entrances and exits timed to build tension and frustrate satisfaction. (It's said Shanley added some of these devices just for the movie -- which, if you think about it, is you might expect somebody with an intrinsically theatrical sensibility to do to "open up" a play for film.)
What I didn't expect was the outlandishly broad comedy of Streep's "The Devil Wears a Bonnet" performance. I think that is probably a compliment, and I don't think she's getting enough credit for how funny she is. "Doubt" may be a work that touches on Serious Issues (sex abuse in the church, the evils of gossip, the weighing of greater and lesser sins, the obligations of that come with intuition and experience -- and the paradoxes of doubt) but it's also by the guy who wrote "Moonstruck" and "Joe Versus the Volcano." Streep attacks it with sketch-comedy gusto, and there were whole scenes, memorably the inspection of Sister James' classroom and the high-voltage showdowns between Sister Aloysius and Father Flynn, when I couldn't stop chortling like a schoolboy. I don't believe my laughter was inappropriate:
Flynn: "Where's your compassion?"
Aloysius: "Nowhere you can get at it."
That's a doozy of a punch line, and Streep knows it. (If I'm wrong about that, then there hasn't been a performance this misconceived since Faye Dunaway in "Mommie Dearest.")
But where does the "doubt" come in?
In a startling upset, "The Dark Knight" failed to make the cut in the Best Picture category Thursday, as this year's Academy Awards nominees were announced. The Batman drama, second top-grossing film of all time after "Titanic," was also a critical favorite and looked to many like a shoo-in.