The 2016 Academy Awards – Guesses and Speculation

Tags

2016 Academy Awards, 2016 Oscars, Academy Awards

I’ll freely admit: there was just too much going on this year for me to pay as close attention to the Oscars as I usually do. From moving and starting a new job to focusing on 2016 horror films to general world affairs, my attention was often elsewhere. To that end, I find that my overall opinion on (non) 2016 cinema will carry even less weight than usual this year: many of the opinions below reflect a mixture of gut instinct, general scuttlebutt and a general sense of which way the Academy tends to lean, at any given time.

For the purpose of full disclosure, I only managed to screen seven films out all of the nominees: Arrival, Hacksaw Ridge, Hell or High Water, Moonlight, Hail Caesar, Kubo and the Two Strings and The Lobster. As such, I’m sure that I missed lots of worthwhile films that may have influenced these (decidedly) uneducated opinions. Them, of course, is the breaks.

In that spirit and with those caveats, I present my guesses for the upcoming Oscar festivities.

—

Writing (Original Screenplay)

What Should Win: The Lobster

What Will Win: Manchester By the Sea

Writing (Adapted Screenplay)

What Should Win: Moonlight

What Will Win: Hidden Figures

Visual Effects

What Should Win: Doctor Strange

What Will Win: Rogue One: A Star Wars Story

Sound Mixing:

What Should Win: Hacksaw Ridge

What Will Win: La La Land

Sound Editing

What Should Win: Hacksaw Ridge

What Will Win: Arrival

Production Design

What Should Win: Hail, Caesar!

What Will Win: La La Land

Music (Original Song)

What Should Win:

What Will Win: “City of Stars,” La La Land

Music (Original Score)

What Should Win: Moonlight

What Will Win: La La Land

Makeup and Hairstyling

What Should Win: Star Trek Beyond

What Will Win: Star Trek Beyond

Foreign Language Film

What Should Win: A Man Called Ove

What Will Win: Toni Erdmann

Film Editing

What Should Win: Hacksaw Ridge

What Will Win: Arrival

Documentary (Feature)

What Should Win: I Am Not Your Negro

What Will Win: 13th

Directing

Who Should Win: Moonlight

Who Will Win: Damien Chazelle

Costume Design

What Should Win: Fantastic Beasts and Where to Find Them

What Will Win: La La Land

Cinematography

What Should Win: Silence

What Will Win: Arrival

Animated Feature Film

What Should Win: Kubo and the Two Strings

What Will Win: Moana

Actress in a Supporting Role

Who Should Win: Octavia Spencer, Hidden Figures

Who Will Win: Octavia Spencer, Hidden Figures

Actor in a Supporting Role

Who Should Win: Mahershala Ali, Moonlight

Who Will Win: Mahershala Ali, Moonlight

Actress in a Leading Role

Who Should Win: Ruth Negga, Loving

Who Will Win: Natalie Portman, Jackie

Actor in a Leading Role

Who Should Win: Viggo Mortensen, Captain Fantastic

Who Will Win: Denzel Washington, Fences

Best Picture

What Should Win: Moonlight

What Will Win: La La Land

The 88th Annual Academy Awards: Who Will Win, Who Should Win (Part Two)

Tags

2015 Academy Awards, 88th Annual Academy Awards, Academy Award Nominee, Academy Awards, award shows, Oscar nominee, Oscars

And now: the final part of my Oscar predictions, as we approach the kick-off to the big event.

—

Best Animated Short

Bear Story

Prologue

Sanjay’s Super Team

We Can’t Live Without Cosmos

World of Tomorrow

What Should Win: World of Tomorrow/Sanjay’s Super Team

What Will Win: Sanjay’s Super Team

Right up until I actually saw Sanjay’s Super Team, this seemed like another one of those grudging “can’t stop it” categories. After all, Hertzfeldt’s World of Tomorrow is the obvious winner, a smart, moving and powerful examination on the basics of humanity that says more in its 15 minutes than most films say in two hours. Bear Story was an amazing, intricately made expose on the subtler evils of fascism, while We Can’t Live Without Cosmos was a bittersweet look at friendship, set around the trappings of the Russian space program: both were good but, compared to World of Tomorrow, just didn’t have the big vision and reach. Prologue? Way too strange and head-scratching, despite some amazing visuals. I figured that Sanjay’s Super Team would win simply for being the resident Pixar offering: combined with its superhero focus, that seemed unbeatable. And then I actually watched it. Let’s be clear: World of Tomorrow is a phenomenal piece of art, deep, moving and important. Sanjay’s Super Team is, likewise, a deeply moving bit of art with the added benefit of a visual style that, for lack of a better word, is next-level. The short will win and it will absolutely deserve it, despite a lot of very worthy competition.

—

Best Makeup and Hairstyling

Mad Max: Fury Road

The 100-Year-Old Man Who Climbed Out a Window and Disappeared

The Revenant

What Should Win: The 100-Year-Old Man Who Climbed Out a Window and Disappeared

What Will Win: The 100-Year-Old Man Who Climbed Out a Window and Disappeared

Up until I actually watched The 100-Year-Old Man Who Climbed Out a Window and Disappeared, I was fully prepared to give this to Mad Max, part and parcel. The Revenant was truly impressive (that bungled scalping…shiver…) but, like the rest of the visual effects, a little to organic to really stand out. Mad Max, on the other hand, was a virtual cornucopia of varied makeup, a cast of thousands with a thousand different looks, style sand quirks to go with it. Case closed.

Not quite. Turns out that not only is The 100-Year-Old Man Who…one of the best, most original and flat-out funniest films of 2015 (maybe the best: I have some serious re-evaluating to do), the makeup effects are equally impressive. Just the aging makeup of the lead character, alone, puts this over the top (the actor is in his mid-40s, in real-life, yet realistically ages from his twenties through to hundred across the span of two hours). Add in all of the really great historical figure impersonations (the Stalin, Bush and Reagan ones are spot-on) and you have a nominee that upholds excellence in every measure of the category. For me, this is an absolute no-brainer.

—

Best Original Screenplay

Bridge of Spies

Ex Machina

Inside Out

Spotlight

Straight Outta Compton

What Should Win: Ex Machina

What Will Win: Inside Out

Caveat: I never got around to Spotlight, so if that was the best script, I defer to more knowledgeable souls. Of the remaining four, it’s a bit of a shoving match. To not put to fine a point on it, Straight Outta Compton had a terrible script, one of the most tone-deaf, obvious and awkward of the entire year. The film might have had its share of problems but the script was absolutely at the top of the list. Bridge of Spies was a consistently twisty, thorny screenplay, yet wasn’t always as clear as it could’ve been: perhaps one needed a scorecard to tell the players during the event but one shouldn’t need the same for a fictional cinematic adaptation. Inside Out has a really smart, sensitive and mature script, with a profound insight into not only childhood but depression, mania and other mental conditions. This seems like a lock and I wouldn’t complain in the slightest.

For my money, though, Ex Machina had the best, most subtle and most intriguing script of the bunch. The ideas were less conventional than the others, the dialogue was smart and the big questions that were raised had a genuine sense of impact and importance. Perhaps it speaks more to my particular sensibilities but this was the film that I found myself returning to the most (of the nominees) and I credit that in no small part to the excellent screenplay.

—

Best Supporting Actor

Christian Bale, The Big Short

Tom Hardy, The Revenant

Mark Ruffalo, Spotlight

Mark Rylance, Bridge of Spies

Sylvester Stallone, Creed

Who Should Win: Tom Hardy, The Revenant

Who Will Win: Sylvester Stallone, Creed

Since I only saw two nominees here, my opinion probably won’t carry much weight. Of the performances I saw, Hardy did a phenomenal job portraying a true cretin with just enough self-doubt to prevent him from becoming a sub-human monster, while Rylance subtly portrayed a wry, unflappable spy with a charming mixture of understated humor, stoicism and grim acceptance. I lean towards Hardy, here, although either one seem equally worthy.

In the grand scheme, however, is anyone really going to beat Sly here? Not only does his return performance as Rocky tick off pretty every box on the Academy’s “What We Like” list, it also “corrects” the error of never awarding him a trophy for his initial go-round with the character. They’ll see it as proper and that’s probably as good a reason as any.

—

Best Supporting Actress

Jennifer Jason Leigh, The Hateful Eight

Rooney Mara, Carol

Rachel McAdams, Spotlight

Alicia Vikander, The Danish Girl

Kate Winslet, Steve Jobs

Who Should Win:

Who Will Win: Rachel McAdams, Spotlight

Despite my intentions, I only ended up seeing one of the nominated performances, which is a real shame. Despite enjoying Jennifer Jason Leigh’s full-blooded, foul-mouthed and vilely exuberant performance as the condemned centerpiece in Tarantino’s Hateful Eight, it was still a pretty cartoonish performance and devoid of much nuance or shading. A great performance, mind you, but the kind I would consider one of the year’s best.

Of the ones I didn’t see, I’m going to pull McAdams’ name out of my magician’s hat. I’m not sure how much love Spotlight will see at the Oscars but all reports have indicated that McAdams was a pivotal point in the film’s acting ensemble. At this point, however, it’s definitely a coin toss.

—

Best Picture

The Big Short

Bridge of Spies

Brooklyn

Mad Max: Fury Road

The Martian

The Revenant

Room

Spotlight

What Should Win: Mad Max

What Will Win: The Revenant

At long last, the main event. I ended up screening five out of the eight Best Picture nominees (I didn’t get to Brooklyn, The Big Short or Spotlight, unfortunately), so at least this will be a bit more informed than the Supporting Actor/Actress categories. I enjoyed Bridge of Spies but never found it more than a pleasant diversion: call it Spielberg-lite (very lite), an enjoyable film but altogether forgettable. The Martian was duly impressive when it stuck with the core idea of Damon lost on Mars but became too conventional and rather uninteresting whenever it left the Red Planet and returned to ground control. The Room was an impressive, tense rape/abuse analogy that suffered from the same basic issues as The Martian: when it left the confines of the titular location, the film became much more familiar and infinitely less spectacular.

This leaves us with the final two in the running: Inarritu’s ode to vengeance, The Revenant, and George Miller’s return to the wasteland, Mad Max: Fury Road. Quality-wise, both films are on par, for different reasons: they’re both fully immersive, in their own way, are the furthest things from spoon-fed multiplex pap and demand that audiences keep up if they want the full experience. They’re both technical marvels, The Revenant utilizing nothing but natural light and adverse weather conditions to produce an unparalleled vision of the unforgiving natural world, while Mad Max throws everything (including the kitchen sink) at the screen in an overwhelming successful attempt to portray a world spun completely off the wheels.

At the end of the day, this will be a contest decided by two very different, yet equally exacting, takes on the art of filmmaking. Will the Academy award Inarritu’s hell-and-back approach to filmcraft or will old master Miller finally get recognition for a truly stunning, outsider career that’s managed to spring like Lazarus from the dead? Can Inarritu score back-to-back Oscar wins or is that one lottery ticket too many?

When all is said and done, my gut instinct tells me that The Revenant will end up standing tall. Production narratives have as much to do with a film’s Academy success as anything else and, regardless of what one thinks about the actual film, there’s no denying that The Revenant is pretty much a one-of-a-kind production. I would, personally, rather see Mad Max take the prize but I just don’t think that’s in the cards.

Perhaps I’m wrong, however. One way or the other, we’ll all find out soon. Happy viewings, friends and cyber-neighbors!

The 88th Annual Academy Awards: Who Will Win, Who Should Win (Part One)

Tags

2015 Academy Awards, 2015 Oscars, 88th Annual Academy Awards, Academy Award Nominee, Academy Awards, Oscar nominee, Oscars

Things can always be different. In most cases, they should be different. At the end of the day, however, especially when it comes to awards shows, we can only really deal with what’s in front of us. Taking a look at this year’s Oscar nominees, there’s a whole lot that I would do differently. For one, there’s a lot of female directors that should have been on the list this year (Marjane Satrapi, Shira Piven and Celine Sciamma spring instantly to mind). There are at least a bakers’ dozen of extraordinary films and performances that weren’t so much as nominated (Kristen Wiig, Slow West, Girlhood and Bone Tomahawk are all on the “shafted” list this year). As I’ve said before, so shall I say again: do Academy voters actually watch more than 10 films a year?

All of that being said, we’ll deal with what “could’ve been” in a future post: at this time, we can only examine what was nominated, for good and bad. I did my best to see as many nominated films as I could this year but, as always, there were plenty that slipped through the cracks: Carol, The Big Short, Anomalisa, Mustang, Brooklyn and 45 Years were all films that seemed immensely worthy and right up my alley: unfortunately, we just never ended up being in the same place at the same time. Cest la vie, I suppose: after all, that’s what Mop-Up March is for.

In that spirit, here’s the first part of my educated (or not) guesses at what might tickle Academy voter fancy this Sunday. Part Two will follow later, including my guess at Best Picture.

—

Best Live Action Short

Ave Maria

Day One

Everything Will Be Okay (Alles Wird Gut)

Shok

Stutterer

What Should Win: Stutterer

What Will Win: Shok

This ended up being a pretty tough category due to the consistent quality of the nominees. Ave Maria was fun, if rather slight, and benefited from being the only truly lighthearted one of the bunch. Day One and Alles Wird Gut were intense little micro-movies, bolstered by great performances, if unrelentingly grim. Stutterer ended up being my fave of the bunch: the Irish/UK production was visually dazzling, had a really neat central conceit and used the proper proportions of giddiness and internal suffering. I’m pretty sure that nothing will beat Shok, however: this Kosovoan production is a 21-minute descent into almost abject misery with a climax that (literally) took my breath away. Nothing about this short is fun, in any way, shape or form, but it absolutely deserves to be seen. I’d rather see the more hopeful Stutterer take the trophy but Shok is, arguably, the most deserving.

—

Best Documentary Short

Body Team 12

Chau, Beyond the Lines

Claude Lanzmann: Spectres of the Shoah

A Girl in the River: The Price of Forgiveness

Last Day of Freedom

What Should Win:

What Will Win:

This is one of those categories where I didn’t see enough nominees to make an informed decision. Neither of the two shorts I saw really blew me away: Chau was uplifting and well-made but thoroughly conventional and obvious, whereas Last Day of Freedom had a great, important central concept but lost me due to the stylistic affectations (skittery, animated line drawings that distracted from the powerful story). If I had to guess, Chau seems like the kind of short that the Academy tends to favor but this could really go to any of them, I suppose.

—

Best Sound Mixing

Bridge of Spies

Mad Max: Fury Road

The Martian

The Revenant

Star Wars: The Force Awakens

What Should Win: Mad Max

What Will Win: The Revenant

For me, this is technically a toss-up between the unholy cacophony of Mad Max’s never-ending apocalyptic din and the all-encompassing stillness of The Revenant’s purgatorial chill. While I lean towards the more chaotic side of the spectrum, I think that The Revenant’s momentum will make this an easy lock. Nothing about the sound mix in either Bridge of Spies or The Martian really stood out, although I can’t comment on Star Wars, as that was one of the ones that got away.

—

Best Sound Editing

Mad Max: Fury Road

The Martian

The Revenant

Sicario

Star Wars: The Force Awakens

What Should Win: Mad Max

What Will Win: The Revenant

See my above reasons for Sound Mixing, with the added caveat that I really like the sound editing in Sicario. Despite that, however, I still think Mad Max and The Revenant are the two to beat.

—

Best Visual Effects

Ex Machina

Mad Max: Fury Road

The Martian

The Revenant

Star Wars: The Force Awakens

What Should Win: Mad Max

What Will Win: Star Wars

With its seamless blend of physical effects and CGI, Fury Road was an all-encompassing experience and my easy pick for Best Visual Effects of the nominated films I saw. While Ex Machina was impressive on a smaller scale, I find it hard to believe the Academy will give it much love. The Martian was nice but certainly nothing special, while the effects in The Revenant (barring that terrifying bear attack) were so organic that they never really stood out. All of that said, however, I don’t think that anything will beat Star Wars in this particular category: with so few nominations, tossing it the VizFx statue seems like a no-brainer.

—

Best Costume Design

Carol

Cinderella

The Danish Girl

Mad Max: Fury Road

The Revenant

What Should Win: Mad Max

What Will Win: Cinderella

Although it might seem as if I’m just picking Mad Max in every category, that’s not quite the case. In this example, as with the above, I genuinely think it was the best of the best. With its unique vision of end-of-the-world-couture and a seemingly endless variety of eye-popping outfits, this (to me) is what costume design is all about. Nothing about The Revenant’s costume design really stood out for me, although the organic authenticity was certainly impressive. All of this being said, the Academy really can’t pass up a safe bet and I’m sure that Cinderella’s ball-gowns and fairy-tale fashion will fit that bill to a t.

—

Best Production Design

Bridge of Spies

The Danish Girl

Mad Max: Fury Road

The Martian

The Revenant

What Should Win: Mad Max

What Will Win: Mad Max

This is another category where I just can’t see a lot of competition. The period detail in Bridge of Spies was just fine but certainly nothing special: ditto the science-factual details of Scott’s The Martian. The Revenant looked consistently lovely but seemed rather sparsely designed, barring the handful of scenes in villages and way-stations: it’s overriding strengths were the huge, endless outdoor vistas and that gorgeous natural light. Of the four films I saw in this category, only Mad Max sported the kind of meticulous, exacting attention to detail that’s necessary to make an utterly fantastic world spring to gritty life. I could definitely see The Revenant taking this home, especially if it sweeps, but I still think Mad Max is the most worthy candidate.

—

Best Film Editing

The Big Short

Mad Max: Fury Road

The Revenant

Spotlight

Star Wars: The Force Awakens

What Should Win: Mad Max

What Will Win: The Big Short

If you think about it, Mad Max is really one big, two-hour car chase: that’s a film where editing is not only important but pretty much the sink-or-swim pivot. Not only is the film always coherent and spatially easy to follow, the integration of physical effects and CG work is nothing short of seamless. In a perfect world this would be a lock. That’s not to say that the editing in The Revenant wasn’t seamlessly fluid, mind you, or that any of the ones I didn’t screen might be equally worthy. As far as what will win, however? My money is on The Big Short (which I didn’t screen), which has amassed quite a bit of pre-awards buzz and feels like an all-around safer bet for the Academy.

—

Best Cinematography

Carol

The Hateful Eight

Mad Max: Fury Road

The Revenant

Sicario

What Should Win: The Revenant

What Will Win: The Revenant

Just like last year, there may be several viable choices in the Best Cinematography category but there’s really only one front-runner: Emmanuel Lubezki’s work in The Revenant is pretty much what awards were created for. While The Hateful Eight brought 70mm film back to the masses, it just didn’t do as much awe-inspiring stuff with its vistas as The Revenant did: Tarantino’s newest might smoke lots of the competition but it’s at least a half-step behind Inarritu’s survival chiller. In any other year, either Roger Deakens’ work in Sicario or John Seale’s heart-stopping cinematography in Mad Max would be solid locks for the pole position. As any good Highlander knows, however, there can be only one: this year, The Revenant looks to lop a lot of heads.

—

Best Original Song

“Earned It,” Fifty Shades of Grey

“Manta Ray,” Racing Extinction

“Simple Song No. 3,” Youth

“Til It Happens to You,” The Hunting Ground

“Writing’s On the Wall,” Spectre

What Should Win: “Til It Happens To You,” The Hunting Ground

What Will Win: “Writing’s On the Wall,” Spectre

Despite having seen none of the nominated films, I did manage to listen to all of the individual songs. “Earned It” and “Simple Song No. 3” are both rather forgettable tracks, each one falling into the category of Muzak for one reason or another. “Manta Ray” is a great song but seems too brittle and spare to really go anywhere. Personally, I found Sam Smith’s “Writing’s On the Wall” to be the most banal, middle-of-the-road tune of the bunch, just the kind of forgettable anthem that seems aimed at most Academy voters. Only Lady Gaga’s “Til It Happens to You” struck me as a song suitable for both on and off the screen. I’m predicting that Smith wins by a landslide, naturally.

—

Best Original Score

Bridge of Spies

Carol

The Hateful Eight

Sicario

Star Wars: The Force Awakens

What Should Win: The Hateful Eight

What Will Win: Star Wars

As far as I’m concerned, this category is one of the easiest of the bunch: not only was Ennio Morricone’s score for Tarantino’s Western one of the very best of the year, it was one of the very best of the illustrious composer’s rather incredible career. Menacing, thrilling, driving and as integral to the film as any of the visual components, Morricone’s Hateful Eight scores is one of the rare bits of filmic music (just like his Good, The Bad and The Ugly score) that’s just as good off-screen. Among the others, I found Thomas Newman’s score for Bridge of Spies to be just about the most generic, forgettable one of the year, while Johann Johannsson’s work for Sicario was nothing spectacular. That being said, this is a year that sees legendary composer John Williams nominated for a Star Wars film: in Vegas, they call that a “sure bet.”

—

Best Foreign Language Film

Embrace of the Serpent, Columbia

Mustang, France

Son of Saul, Hungary

Theeb, Jordan

A War, Denmark

What Should Win: Theeb, Jordan

What Will Win: Son of Saul, Hungary

Yet another category where I only got to see one entry but I’m a lot more confident calling a winner in this one: there really hasn’t been buzz for any of the nominees save Son of Saul and that looks set to win by a landslide. That being said, I absolutely loved Theeb and would be overjoyed if that decidedly old-fashioned Western (by way of Lawrence of Arabia) were able to surge ahead and take the prize. Biggest disappointment, here, is not getting to see Mustang, which I’m pretty sure is absolutely amazing.

—

Best Documentary Feature

Amy

Cartel Land

Look of Silence

What Happened, Miss Simone?

Winter on Fire

What Should Win: Cartel Land

What Will Win: Amy

While the worst thing that I can say about any of these entries is that Oppenheimer’s Look of Silence was a disappointment (for me, at least) and a step down from his unforgettable The Act of Killing, the clear winner is Cartel Land. Amy is a well-made, sad look at a popular public figure (hence, my assumption that it will win) and is much less politically-thorny than the Nina Simone biopic, while Winter on Fire hews a little closely to previous nominee The Square. Cartel Land, on the other hand, is a fiercely original, terrifying and massively thought-provoking look at the war on drugs that arrives like an anvil to the face and instantly eliminates the competition. I feel the same way about Cartel Land that I did about The Act of Killing: it should be required viewing for every citizen of Planet Earth.

—

Best Animated Feature

Anomalisa

Boy and the World

Inside Out

Shaun the Sheep

When Marnie Was There

What Should Win: Anomalisa

What Will Win: Inside Out

While I didn’t get to screen Anomalisa in time for the awards ceremony, I have no doubt that Charlie Kaufman’s puppets-in-crisis drama is nothing short of next-level amazing. The very fact that a film like that is nominated in the Animated Feature category makes this year’s selections rather intriguing. Of the others I saw, Shaun the Sheep was a disappointment, being the first Aardman film that didn’t completely charm me. I can’t see anything stopping Inside Out, however, and there’s nothing wrong with that: this genuinely incisive look into childhood emotions and the terrifying joy of getting older and letting go of your youth is the rare “kids” films that’s aimed as squarely at adults as it is wee ones. It’s a genuinely lovely film with a positive message, great voice acting and lots of fun setpieces: I’d be a complete Scrooge if I tried to crap on its rainbow.

—

Best Adapted Screenplay

The Big Short

Brooklyn

Carol

The Martian

Room

What Should Win:

What Will Win: The Big Short

In this particular category, the only films that I got a chance to screen were The Martian and Room: ironically, I had the exact same problem with both films. To whit, the movies are much better when they’re smaller and more contained: when it’s just us and Mark Watney or us and Joy and Jack, both The Martian and Room are virtually airtight. Once they’re expanded to larger canvasses, however, the films lose their impact and become altogether more generic and familiar. From what I understand, The Big Short did a good job of not only compressing a lot of information into its two hours but also in educating its audience on various difficult concepts and terminology. On face value, that seems like a pretty admirable job to me but, as always, my sincerest apologies to the unscreened.

—

Best Director

Adam McKay, The Big Short

George Miller, Mad Max: Fury Road

Alejandro G. Inarritu, The Revenant

Lenny Abrahamson, Room

Tom McCarthy, Spotlight

Who Should Win: George Miller, Mad Max: Fury Road

Who Will Win: Alejandro G. Inarritu, The Revenant

While there may be five individuals nominated here, this particular race is really only about two: Miller and Inarritu. Both longtime auteurs produced staggeringly difficult, singular works, each with more obstacles to overcome than most filmmakers deal with in their entire lives. While Inarritu’s production travails on The Revenant have entered the public zeitgeist in a way not seen since Francis Ford almost lost his marbles in the jungle, I’m Team Miller on this one, all the way. Inarritu used minimalism and natural order (along with an exceptionally game cast) to craft a chilly piece of brutalist art, whereas Miller turned overriding chaos into one of the most beautifully orchestrated, choreographed and riveting pieces of thrash-pop we’ve ever seen. It’s the difference between fire and ice: I’m all about the fire on this one.

—

Best Actor

Bryan Cranston, Trumbo

Matt Damon, The Martian

Leonardo DiCaprio, The Revenant

Michael Fassbender, Steve Jobs

Eddie Redmayne. The Danish Girl

Who Should Win: Leonardo DiCaprio, The Revenant

Who Will Win: Leonardo DiCaprio, The Revenant

I only got a chance to screen The Martian and The Revenant so, again, my apologies for a slightly uninformed opinion here. As usual, Damon was massively charismatic, the kind of matinee idol who can easily carry a film on nothing more than his “aw shucks” bearing and goofily endearing grin. That being said, there also wasn’t anything here we haven’t seen from him in the past: it’s a great performance from a great actor but it never struck me as the best of the year. As far as DiCaprio goes, we’ve all heard the narrative of woe, by this point: nearly frozen to death in the frigid wild; forced to eat steaming animal liver, puking it back up in the take that actually makes the final cut; crawling through icy cold water for days on end; taking a bite out of a living fish…if Olivier thought Dustin went a bit overboard, wait’ll he gets a load a this guy, eh?

The thing is, DiCaprio is great in The Revenant for more than his ability to go the extra mile (literally). He does a lot with a relative scarcity of dialogue, slipping into the strong, silent antihero (ala classic Eastwood and Bronson) with a surprising ease: it’s like we blinked and Jack suddenly became a man. He’s always 100% invested in the character (obviously) but he brings that investment to all the small things, as well: the expressive eyes and skittering glances…the constant, realistic pain and reactions to the elements…those rare moments where peace and calm slip across his face before being brushed aside. If the point of a Best Actor nomination is to award the actor who gave us the most immersive, fully-formed and complete character interpretation of the proferred group, I’m pretty sure that DiCaprio fits that definition. Go ahead: give Leo the damn trophy, already.

—

Best Actress

Cate Blanchett, Carol

Brie Larson, Room

Jennifer Lawrence, Joy 

Charlotte Rampling, 45 Years

Saoirse Ronan, Brooklyn

Who Should Win: Brie Larson, Room

Who Will Win: Cate Blanchett, Carol

This, alas, was a category where I only got to screen one film, making my ultimate analysis a bit of a dice toss. I thoroughly enjoyed Brie Larson’s portrayal of the imprisoned mother, however, so I don’t feel bad tossing all my support behind that. She’s always been a great actress (Short Term 12 was absolutely amazing) and her performance here is full of subtle moments and quiet gestures that say more than a thousand lines of dialogue ever could. It’s a difficult role, emotionally, but Larson turns in a pretty stunning performance. All of that being said, however, I have a sneaking suspicion that Cate Blanchett will actually win this particular award. Call it a hunch, intuition or just the notion that Room may have been a bit too small to gain as much attention (despite its Best Picture, Director and Actress nods) but I just have a feeling. I could also see Charlotte Rampling taking this, although 45 Years was another film that didn’t seem to receive as much attention from the Academy.

Stay tuned for Part Two, faithful readers.

Oscar Watch: My 87th Annual Academy Award Picks

Tags

2014 Academy Awards, 87th Annual Academy Awards, Academy Awards, Alejandro González Iñárritu, award shows, Best of 2014, multiple award nominee, Oscars, personal opinions, snubbed at the Oscars

It’s that time of year again: Oscar season. While the Academy Awards haven’t been incredibly relevant for many years now (if they ever were), it’s always impossible for me to avoid the hype and excitement, no matter how hard I try. Unlike previous years, I didn’t get to sample a particularly wide swath of the nominees. That being said, I did manage to see at least one film in every category, with the exceptions of the shorts or the Animated Feature. In that spirit, here are my 2014 Oscar predictions based on my experiences, my intuition and my sense of what Tinsel Town ordains as “grade A beef.”

ANIMATED FEATURE FILM

Big Hero 6

How To Train Your Dragon 2

The Boxtrolls

The Tale of the Princess Kaguya

Song of the Sea

Who Should Win

Since I didn’t see any of the nominees this year, I’ll have to go with my gut on this one: from what I’ve seen, the most unique entries are obviously The Tale of the Princess Kaguya and Song of the Sea. Studio Ghibli’s entry looks ridiculously lush and artistic, so I’m going to give them the nod.

Who Will Win

My gut tells me this will go to Big Hero 6: it’s Disney, super-hero related and was a big money-maker…seems like an almost sure-thing.

– – –

PRODUCTION DESIGN

Into the Woods

The Grand Budapest Hotel

Interstellar

The Imitation Game

Mr. Turner

Who Should Win

Even though I only saw one of the entries, this is a no-brainer for me: The Grand Budapest Hotel was one of the most beautiful, evocative and exquisitely designed films of the last several years. I’ve heard good things about Mr. Turner’s design but I’m throwing my support behind Mr. Anderson on this one.

Who Will Win

I could see this being a toss-up between Grand Budapest and Into the Woods: Into the Woods would be the safer bet, so I’m assuming that’s what the Academy will go with.

– – –

SOUND MIXING

Mark Weingarten, Interstellar

Thomas Curley, Whiplash

Unbroken

American Sniper

Birdman

Who Should Win

Another category where I only saw one entry: I was rather impressed with Birdman’s sound design and mixing, so I have no problem giving that the nod, despite not seeing the others. That being said, I can only imagine that Interstellar and Whiplash both had a lot going on, as well.

Who Will Win

I could see Interstellar sweeping the technical awards, unless Birdman pulls a coup and takes all of its nominations. Again, not having seen (heard?) the others, it’s difficult to be sure one way or the other.

– – –

SOUND EDITING

Interstellar

Unbroken

The Hobbit: The Battle of the Five Armies

American Sniper

Birdman

Who Should Win

See “Sound Mixing,” above.

Who Will Win

See “Sound Mixing,” above, with the additional caveat that The Hobbit might sneak away with one, here.

– – –

FILM EDITING

Sandra Adair, Boyhood

Tom Cross, Whiplash

William Goldenberg, The Imitation Game

Joel Cox & Gary Roach, American Sniper

Barney Pilling, The Grand Budapest Hotel

Who Should Win

I only saw two films in this categories and either one seems worthy: Boyhood’s editing was fairly subtle and understated, giving an organic flow to the story; Grand Budapest, by contrast, was much fussier and flashier, which befitted what Anderson was going for. I’m going to give the nod to Grand Budapest but wouldn’t be upset if Boyhood took the statue.

Who Will Win

I could see this going to either Grand Budapest or Whiplash: my gut tells me that Whiplash will end up standing tall when the dust clears.

– – –

DOCUMENTARY FEATURE

Citizenfour

Last Days in Vietnam

Virunga

The Salt of the Earth

Finding Vivian Maier

Who Should Win

I only saw two of the entries, since I chickened out on Virunga. While I though Last Days was well made and Finding Vivian Maier was quirky and interesting, neither one really blew me away. In this case, I’m going to give the nod to Virunga and its more than worthy cause.

Who Will Win

I have a feeling that Citizenfour will win this one, although I wouldn’t be surprised, in the least, to see Virunga triumph.

– – –

VISUAL EFFECTS

Interstellar

Dawn of the Planet of the Apes

Guardians of the Galaxy

Captain American: Winter Soldier

X-Men: Days of Future Past

Who Should Win

Talk about a tough call (for me, at least). The only SFX blockbuster I saw in 2014 was Guardians of the Galaxy and the effects in that weren’t always mind-blowing. I can only imagine that Interstellar was a real visual spectacle, despite any narrative short-comings, and the other three were mega-budget tent-pole pics: they should all have looked like a billion bucks.

Who Will Win

My gut tells me Guardians but I could see Dawn of the Planet of the Apes scoring big here, too. Again, I’m probably the worst judge of this particular category, despite being a huge genre guy: talk about different strokes, eh?

– – –

MUSIC – ORIGINAL SONG

“Glory,” Common and John Legend, Selma

“Lost Stars,” Gregg Alexander, Danielle Brisebois, Nick Lashley, Nick Southwood, Begin Again

“Everything is Awesome,” Shawn Patterson, The LEGO Movie

“I’m Not Gonna Miss You,” Glen Campbell, Glenn Campbell: I’ll Be Me

“Grateful,” Beyond the Lights

Who Should Win

I really meant to listen to the songs, even though I hadn’t seen any of the movies, but never got around to it. As such, I can only go with Common and John Legend’s contribution since, on paper, that sounds amazing. In reality, though: no clue.

Who Will Win

Something tells me this will be the only place where The LEGO Movie gets any love, whatsoever. For a sympathy vote, Glenn Campbell, but my gut tells me “everything is awesome,” indeed.

– – –

COSTUME DESIGN

Colleen Atwood, Into the Woods

Anna B. Sheppard, Maleficent

Milena Canonero, The Grand Budapest Hotel

Jacqueline Durran, Mr. Turner

Mark Bridges, Inherent Vice

Who Should Win

Since I only saw Grand Budapest, I don’t have much leeway here. Nonetheless, I’m going to assume that Into the Woods probably had the most unique costume design (or, at least, the greatest variety). While Grand Budapest looked amazing, I’m not sure that the costumes stuck out enough to earn special mention.

Who Will Win

I think this will either go to Into the Woods or Grand Budapest, the higher profile films of the five. It’s also possible that Maleficent will pull out a surprise upset but I rather doubt it.

– – –

MAKEUP AND HAIRSTYLING

Foxcatcher

The Grand Budapest Hotel

Guardians of the Galaxy

Who Should Win

Since so much of the character design in Guardians was make-up based, this seems like the obvious and best choice. Grand Budapest looked great but there was nothing particularly memorable about the makeup and Foxcatcher’s “potato nose” should knock it out of the running by default.

Who Will Win

This seems like an easy lock for Guardians.

– – –

MUSIC – ORIGINAL SCORE

Hans Zimmer, Interstellar

Alexandre Desplat, The Imitation Game

Johann Johannsson, The Theory of Everything

Alexandre Desplat, The Grand Budapest Hotel

Gary Yershon, Mr. Turner

Who Should Win

I actively dislike Johannsson’s score for The Theory of Everything and thought that Desplat’s score for Grand Budapest was magical, so this was an easy one, for me.

Who Will Win

With two nominations, this definitely seems like Desplat’s year. That being said, my gut tells me that Hans Zimmer will win big for Interstellar.

– – –

CINEMATOGRAPHY

Emmanuel Lubezki, Birdman

Roger Deakins, Unbroken

Robert D. Yeoman, The Grand Budapest Hotel

Dick Pope, Mr. Turner

Lukasz Zal & Ryszard Lynzewski, Ida

Who Should Win

In any other year, either Yeoman’s gorgeous work in Grand Budapest or Ida’s beautiful black-and-white cinematography would be instant locks for the trophy. This year, however, there’s only one film that “matters”: Emmanuel Lubezki’s astounding single-take work in Birdman wins this, hands down. In the immortal words of Highlander: there can be only one.

Who Will Win

I’m pretty sure this will go to Lubezki but I could see either Yeoman or Zal/Lynzewski swooping in for the upset. Far outside shot: Deakins has the name-brand recognition that could also send him home with the gold, despite Unbroken’s relative snubbing.

– – –

WRITING – ORIGINAL SCREENPLAY

Richard Linklater, Boyhood

Alejandro González Iñárritu, Nicolas Giacobone, Alexander Dinelaris and Armando Bo, Birdman

Wes Anderson and Hugo Guinness, The Grand Budapest Hotel

Dan Gilroy, Nightcrawler

E. Max Frye and Dan Futterman, Foxcatcher

Who Should Win

This is probably the hardest category to pick, for me, at least. I thought that Boyhood felt very realistic, although I assumed that much of the script was improved, based on the situations. Birdman and Grand Budapest were ingeniously plotted and paced, as was newcomer Gilroy’s Nightcrawler. The only one I can’t comment on was Foxcatcher. In a perfect world, Gilroy would have been nominated for lots of trophies: it would be great to see him snag the one he was nominated for.

Who Will Win

I honestly think this will be Anderson’s year for screenwriting. If not, I could definitely see Birdman picking this one up.

– – –

WRITING – ADAPTED SCREENPLAY

Graham Moore, The Imitation Game

Damien Chazelle, Whiplash

Anthony McCarten, The Theory of Everything

Jason Hall, American Sniper

Paul Thomas Anderson, Inherent Vice

Who Should Win

I only saw The Theory of Everything and felt it was way too predictable and by the numbers. I would absolutely love for PT Anderson to take top honors for Inherent Vice.

Who Will Win

I have a feeling that either The Imitation Game or Theory of Everything will win this one, given previous trends.

– – –

FOREIGN LANGUAGE FILM

Ida

Leviathan

Tangerines

Wild Tales

Timbuktu

Who Should Win

I only saw one but Ida would have been a formidable entry in any year. I have no problem tossing my hopes and aspirations about this humble little tale of a nun on the hunt for truth.

Who Will Win

Based on scuttlebutt, I could see Leviathan winning, although Ida’s double nomination might give it an additional push.

– – –

DIRECTING

Alejandro González Iñárritu, Birdman

Richard Linklater, Boyhood

Bennett Miller, Foxcatcher

Wes Anderson, The Grand Budapest Hotel

Morten Tyldum, The Imitation Game

Who Should Win

Despite how much I loved Grand Budapest and love Wes Anderson, in general, there’s no way that anyone but Iñárritu deserves this award in this particular year. His work on Birdman is nothing short of astounding.

Who Will Win

I have a feeling that Linklater will win for his years-spanning work on Boyhood, although I could also see Anderson taking the prize. I have a (sad) feeling that Iñárritu is a long-shot, here, despite being the obvious pick.

– – –

ACTRESS IN A SUPPORTING ROLE

Patricia Arquette, Boyhood

Laura Dern, Wild

Emma Stone, Birdman

Keira Knightley, The Imitation Game

Meryl Street, Into the Woods

Who Should Win

While Arquette did a great job in Boyhood, I was really impressed by Stone’s work in Birdman. I could go for either of them, although I prefer Stone’s performance. Without seeing it, however, I have to give some support to Laura Dern: it’s about damn time!

Who Will Win

I have a feeling that Arquette will emerge victorious once all is said and done.

– – –

ACTOR IN A SUPPORTING ROLE

Robert Duvall, The Judge

Ethan Hawke, Boyhood

Edward Norton, Birdman

Mark Ruffalo, Foxcatcher

J.K. Simmons, Whiplash

Who Should Win

I only saw Birdman and Norton was fantastic, so why not? It’s about time ol’ Ed had some Oscar gold on his shelf.

Who Will Win

Scuttlebutt says that JK Simmons is a lock for Whiplash, so who am I to argue with scuttlebutt? While Hawke was fine in Boyhood, I seriously doubt he’ll get the nod here.

– – –

ACTRESS IN A LEADING ROLE

Marion Cotillard, Two Days One Night

Felicity Jones, The Theory of Everything

Julianne Moore, Still Alice

Rosamund Pike, Gone Girl

Reese Witherspoon, Wild

Who Should Win

I only two of the nominated films: Felicity Jones’ performance was just fine and Pike was extremely broad and too over-the-top. Had I seen it, however, I bet that Marion Cotillard’s performance in Two Days would have been my favorite.

Who Will Win

Something tells me Julianne Moore will win big for Still Alice.

– – –

ACTOR IN A LEADING ROLE

Steve Carell, Foxcatcher

Bradley Cooper, American Sniper

Benedict Cumberbatch, The Imitation Game

Michael Keaton, Birdman

Eddie Redmayne, The Theory of Everything

Who Should Win

It’s a hard call: Keaton was fantastic but Redmayne did a pitch-perfect imitation of a famous person, which is usually the bar to beat. While there was nothing wrong with Redmayne whatsoever, the rebel in me really wants Keaton to win.

Who Will Win

Without a doubt, Eddie Redmayne.

– – –

BEST PICTURE

American Sniper

Birdman

Boyhood

The Grand Budapest Hotel

The Imitation Game

Selma

The Theory of Everything

Whiplash

Who Should Win

I actually managed to see half the films in this category and my choice is still clear: while Grand Budapest was Anderson’s best film in a while, Birdman was a complete work of art, easily one of the twistiest, thorniest films to come down the pike in years. Birdman is the kind of film that never seems to get nominated, so it’s exactly the kind of film that should win.

Who Will Win

What a hard call. My gut tells me that either Boyhood or The Theory of Everything will pull ahead in this category. I think Birdman is just too challenging to win and I don’t think Imitation Game and Whiplash had enough name recognition. I suppose that either Selma or American Sniper could always win but I don’t think the Academy will be showing either one much love, this year. You never know, though: Oscar history is littered with strange wins, radical upsets, outrageous losses and egregious snubs…it’s just the nature of the beast!

4/20/14: A Mother Knows (Oscar Bait, Part 16)

Tags

2013 Academy Awards, 86th Annual Academy Awards, Academy Award Nominee, Academy Awards, adoption, Barbara Jefford, based on a true story, BBC journalist, Best Actress nominee, Best Adapted Screenplay nominee, Best Original Score nominee, Best Picture nominee, Blue Jasmine, buddy films, Catholic church, character dramas, cinema, drama, film reviews, films, homosexuality, Judi Dench, Mare Winningham, Martin Sixsmith, Movies, multiple award nominee, nuns, Oscar nominee, Oscars, Peter Hermann, Philomena, road trips, Sean Mahon, Stephen Frears, Steve Coogan

In the hustle of bustle of awards season, when it seems that every film is bigger, more important and more prestigious than the next, it can be a refreshing break to sit down with something a little more modest, a bit quieter. The 2013 Oscar season was filled with lots of very big, very vibrant films, including American Hustle, 12 Years a Slave and The Wolf of Wall Street, but one multiple nominee stood out a little: the Steve Coogan/Judi Dench-starrer Philomena. Not only did Philomena tell a much smaller, more personal story than the other nominees, it managed to focus on character in a way that (in my highly biased opinion) was only matched by Nebraska and Dallas Buyer’s Club. It was also a bit of a David vs Goliath story, since everything about the film marked it as the scrappy underdog to the more established powerhouses helmed by Scorcese, Cuaron, McQueen and Payne. Like its subject matter, Philomena is the scrappy little newcomer that can – and does – get its day in the sun.

Ostensibly, Philomena is the true story of a woman looking for the son she gave up for adoption 50 years earlier. The woman, in this case, is Philomena (Judi Dench) and she’s forced to give her son Anthony up for adoption when he’s just an infant. Philomena, you see, has been sent to a nun-run home for wayward girls after her “indiscretion” with a local boy and the nuns make it plainly clear that it’s God’s will that the children be separated from their mothers as quickly as possible. Philomena’s best friend Kathleen (Charlie Murphy) loses her daughter, Mary, when the child is adopted and the nuns decide to make it a two-fer, throwing in young Anthony, as well. Philomena loses her son, without even getting to say goodbye, and spends the next 50 years wondering what became of him.

When Philomena’s grown daughter contacts disgraced former BBC journalist Martin Sixsmith (Steve Coogan) with the story, he initially blows her off. He doesn’t do human interest stories, after all, since he’s a serious journalist. Something about the story ends up resonating with him, however, and he sets off on a journey of discovery with Philomena, starting with the abbey in Ireland where it all began and ending in America, where they finally track down Philomena’s son. Revelations will abound, however, and the hot-headed Martin will gradually lose his patience with the frustrating “culture of silence” surrounding the Catholic church’s adoption practices of that era. In the end, however, this is Philomena’s story and she knows that forgiveness is the glue that really holds the world together. Will she ever find out the truth about her son? Will Martin ever land the big story that will put him back in the public eye? More importantly, will these two strangers be able to make a change in an unfair system?

As mentioned earlier, Philomena is definitely a labor of love: Coogan got the idea for the film after reading the original newspaper article and was involved in nearly every aspect of the film, including the Oscar-nominated screenplay. One of my favorite stories during this last awards season was the one where Coogan got the shocking phone call about his modest little film being nominated for multiple Oscars, including Best Picture. Stories like this, similar to the buzz that surrounded Roberto Benigni’s Life is Beautiful, serve as a wonderful tonic to the usual entertainment industry propaganda machine, adding a little human element to everything.

It’s certainly surprising to see Coogan attached to something so heartfelt but he ends up being the real revelation of the film. As portrayed by Coogan, Sixsmith is an incredibly well-rounded character: a complete, churlish asshole, yet filled with righteous indignation and good intentions. He makes a wonderful foil for Dench and their relationship is the real foundation of the film. At its heart, Philomena is a buddy road movie and those always live or die by the believability of the central relationship: by this rubric, Philomena not only lives but thrives. There’s something almost elemental about Coogan snarking his way through the minefield of contemporary society while Dench projects the sweet, naive air of a child. She’s nice to everyone, regardless of how much they spit on her, while he can’t seem to find anything good to say about anybody, including her. In one of the film’s funniest scenes, Martin makes a condescending comment about Philomena’s good nature that ends up saying as much about her as it does about him: “She’s told four people that they’re one in a million…what are the odds of that?”

If Coogan’s performance is a big surprise in the film, Dench’s is pretty much business as usual. Over the course of some 100+ roles and almost 60 years in the business, Dench was become synonymous with impeccable performances and her turn in Philomena is no exception. I do feel that Dench has got a bit comfortable over the last several years, since most of her recent characterizations seem to follow pretty identical arcs (there’s not much difference in personality between Dench’s role here or her performance in The Best Exotic Marigold Hotel, to be honest) but there’s no denying how effortless she is. Dench is the kind of performer who can energize anything and she invests the film’s various emotional beats with a spunky sense of purpose.

Ultimately, however, Philomena suffers from something that’s distinctly a filmmaking issue: as a whole, it lacks dramatic tension. Despite the trials that Philomena and Martin go through, the stakes never seem to be high enough, lending everything the feel of a slightly bittersweet made-for-TV movie. None of the film’s revelations really affect anything and the one that potentially could, the revelation of Anthony’s lifelong homosexuality, is deflated almost instantly: Philomena always knew that her son was gay, even if no one else did, so this isn’t news to her, even if it is to the audience. Philomena is such a wonderful, understanding person that, ultimately, this particular revelation couldn’t have any affect on her: that’s just not how her mind (or world) works. Likewise, the banter between Philomena and Martin never reaches a critical boiling point, even though Martin frequently acts like a privileged jerk. Like its titular subject, Philomena is such a thoroughly easy-going, good-natured film that it doesn’t seem particularly interested in rocking any boats. After all, the final confrontation is handled not with the tongue-lashing that we know is well-deserved but with the act of forgiveness that might prove impossible for many watching. Like the battered nun in Bad Lieutenant, Philomena forgives her oppressors, allowing her soul the peace it needs but robbing the audience of the easy gratification of retribution. It’s a mature, reasoned way to handle things but it does tend to make for a fairly even, uneventful story arc.

Since I watched Philomena after the Oscar ceremony, I wasn’t able to really consider it as I watched the telecast but the other nominees were definitely front-and-center in my mind as I watched it. How does Philomena compare? In many ways, the film is the epitome of “good but not great.” While Dench’s performance was typically good, I certainly don’t think it was better than Cate Blanchett’s turn in Blue Jasmine. Similarly, while I thoroughly enjoyed the film, it had nowhere near the impact of Dallas Buyer’s Club, 12 Years a Slave or Nebraska. It’s a much smaller film, obviously, much more of a Little Miss Sunshine than an event picture. The script, while quite good, was also overshadowed by Woody Allen’s script for Blue Jasmine, one of his best in years. If anything, I firmly believe that Coogan was robbed of a Best Actor nomination, finding his performance to be much more nuanced and interesting than Christian Bale’s turn in American Hustle. Provided Coogan keeps at the dramatic roles, however, I see no reason why he won’t (someday) be able to take a statue home for his troubles.

In many ways, Philomena is an absolutely lovely film (the scene where Philomena, Martin and Anthony’s boyfriend sit down to watch home movies brought tears to my eyes in the best, most non-exploitative way possible), filled with wonderful performances, some nice cinematography and a fairly unobtrusive score (also Oscar-nominated, for some reason). There are a few too many obtrusive flashbacks for my liking and the aforementioned lack of narrative tension tends to sap much-needed drama from the proceedings but patient audiences will find much to like here. Philomena may not have been the best film of 2013 but it was certainly one of the nicest ones. At the end of the day, can we really ask for more?

2/22/14: Doing it For Yourself (Oscar Bait, Part 7)

Tags

1980's, 2013 Academy Awards, 86th Annual Academy Awards, Academy Award Nominee, Academy Award Winner, Academy Awards, AIDs, AZT, based on a true story, Best Actor nominee, Best Actor winner, Best of 2013, Best Supporting Actor nominee, Best Supporting Actor Winner, biographical films, bull-riding, character dramas, cinema, clinical trials, Dallas Buyers Club, drama, film reviews, films, gay community, HIV, homophobia, Jared Leto, Jean-Marc Vallee, Jennifer Garner, Matthew McConaughey, Movies, Rayon, rodeo, Ron Woodroof, Steve Zahn

For all intents and purposes, we like to pretend that the world isn’t as cruel and ruthless as it really is. We’d like to think that no one truly falls through the cracks, that there’s always some sort of safety net out there if people are just willing to look. It may not be the most ideal support, we’d like to think, and people may not be able to live in the exact manner of their choosing but beggars can’t be choosers, we reason. At the very least, we’ve always thought, truly sick people should be able to have access to medicine: no one should just be allowed to sicken and die, particularly if there’s something that can be done about it. Right? If we’re being dead serious with ourselves, however, we don’t believe that anymore than we believe in unicorns or the Bermuda Triangle.

In reality, vast expanses of the populace, of every populace since the beginning of time, have been marginalized, pushed to the fringes and forced to rely only on themselves for their well-being. These populaces vary from society to society, country to country, culture to culture and state to state but they’re always painful reminders of one cold, simple fact: whenever anyone needlessly dies, equality is nothing more than a feel-good bedtime story. Anytime an individual is brushed off by the established order and left, essentially, to die, we see the failure of the status quo. In these situations, it becomes necessary for brave individuals (or groups) to fight for their own rights, health and well-being. This need to fight doesn’t necessarily reflect society at its best but it sure does make for some riveting cinema and Dallas Buyers Club is gripping from start to finish.

Based on a true story, Dallas Buyers Club wastes no time in introducing us to our protagonist, rodeo bull-rider and general gadfly Ron Woodroof (Matthew McConaughey). Ron’s the kind of guy who likes to live life to the fullest: threesomes behind the scenes of a bustling rodeo, conning his fellow riders and getting his ass beat in the process, hovering up cocaine by the yard, saying the first thing that comes to his mind. There’s absolutely nothing altruistic about our “hero”: within very short order, we’ve determined that he’s a virulently homophobic, crooked man-child who couldn’t give two shits about anyone else in the world. He’s the kind of good ‘ol boy who sneers when it’s revealed that Rock Hudson is homosexual and dismisses HIV and AIDS as a “gay disease.” He’s also the guy who ends up with HIV, the virus that causes AIDS, thanks to his numerous, unprotected sexual escapades.

Doctors give Ron just thirty days to live but he’s a stubborn cuss and won’t go softly into that good night: “Fuck your 30 days, motherfuckers: ain’t nothing can kill Ron Woodroof in 30 days!” Ron celebrates his “ridiculous” diagnosis by immediately rushing out and having a coke-fueled orgy with his best friend Tucker (Steve Zahn) and a couple “lucky” ladies. Once the seriousness of his situation finally settles in, however, along with the realization that all of his friends and associates have abandoned him, Ron must get to the very serious business of staying alive. Drug trials offer scant hope: kindly doctor Eve (Jennifer Garner) can’t guarantee that Ron will actually get the AZT rather than the placebo. Time and time again, Ron is faced with the terrifying notion that no one really feels they can cure him: everyone seems to be waiting for Ron to die so they can study him.

A chance meeting with an AIDS-infected transexual named Rayon (Jared Leto) sets into motion a chain of events that sees Ron go around the world to pick up experimental, “unauthorized” HIV/AIDS drugs and distribute them to patients through a club of sorts” the Dallas Buyers Club. In short order, Ron and Rayon’s club is doing boomer business and Ron’s health seems to be improving. Dark clouds appear on the horizon, however, when the DEA, IRS and AMA all get wind of what’s going on. Will the Feds work to shut down the only thing that seems to be keeping Ron and Rayon alive? Is Ron an opportunistic con-man or a saint in redneck clothing? If Ron gets shut down, what will become of the rest of the Dallas Buyers Club?

By the time I saw Dallas Buyers Club. I had already seen a handful of other Best Picture nominees for 2013: American Hustle, 12 Years a Slave and Captain Phillips. Of these four films, Dallas Buyers Club was easily my favorite and, in fact, probably one of the best films I’d seen in quite some time.  There’s an awful lot to love in Dallas Buyers Club: the film looks great and has a gritty, earnest eye for period detail; the script is razor-sharp, full of sharply delineated characters and plenty of juicy dialogue (especially some of Ron’s bon mots); the ensemble casts fits together like a jigsaw piece, each actor (both major and minor) working together to paint a complete picture; the film has a big, epic scope yet still brings everything down to a personal, relatable  level; the film is deeply emotional and powerful, yet never maudlin, obvious or hysterical. It’s a beautifully made, powerful work of art that hits on a number of levels yet never loses the inherent dignity and passion of its characters. And then, of course, there are those towering performances by McConaughey and Leto.

Even before he was given the Best Actor statue at the Academy Awards, I already knew that McConaughey had earned it. His performance as Ron Woodroof is nothing short of a revelation: angry, charming, obnoxious, feral, frightened…Woodroof is an open-nerve, the unbearably loud voice of the disenfranchised screaming at maximum volume. There’s absolutely nothing about McConaughey’s performance that ever feels like acting or, to be honest, anything less than completely authentic. At times, it’s impossible to watch, since the pain radiates from the screen in waves. At other times, it’s impossible not to watch, since McConaughey seems to attract all matter and attention to him in the same matter that a black hole might. Ron Woodroof is an amazingly conflicted character and McConaughey brings him to life in all his multi-faceted glory. Bruce Dern was amazing in Nebraska and Chiwetel Ejiofor was heartbreaking in 12 Years a Slave but, for my money, McConaughey gave the single best performance of the year, hands-down.

Leto’s performance as Rayon, although not as multi-faceted as McConaughey’s take on Woodroof, is a pretty spectacular piece of craft. Leto becomes the character so completely that, just as with McConaughey’s performance, I bought it all absolutely. Despite how good Leto was, however, there were still several moments that felt too “actorly” and performed, moments that were more wholly-integrated in McConaughey’s performance. I chalk this up to one fact, plain and simple: Leto just isn’t the actor that McConaughey is, at least not yet. It’s impossible for me not to feel, at least in some small way, that Barkhad Abdi (Captain Phillips) ultimately deserved the trophy more than Leto. While Leto gave a humble, nuanced and tender performance, it still felt like a performance: Abdi, on the other hand, never felt anything less than completely authentic, even if his role didn’t have the emotional beats and arc of Leto’s. Nonetheless, Leto’s performance is extraordinary and, in any other Oscar year, would have been my pick, as well.

In many ways, Dallas Buyers Club strikes me as the anti-American Hustle. Both films are period-pieces about the disintegration of the American dream and both feature characters who must pull off elaborate hustles in order to survive. While American Hustle strikes me as weightless and inconsequential, however, Dallas Buyers Club reminds me more of films like Boogie Nights and Goodfellas. There are certain films that just impact me more than other films and Dallas Buyers Club was one of those films: by the time the end credits rolled, the film felt like a masterpiece and something deserving of the term “classic.” When American Hustle was over, however, I only found myself entertained: truth be told, I’d already forgotten about several key moments days after first watching it. Dallas Buyers Club, however, stuck with me for days and I can still it so clearly that I might as well have watched it days ago, not weeks ago.

Despite being a film about the terrible ravages of AIDS, Dallas Buyers Club is a fiercely vibrant, alive, angry film. There is nothing melancholy or morose about this: like Ron Woodroof, Dallas Buyers Club isn’t interested in feel-good sentiments or gauzy hand-holding. There’s nothing stereotypically “heroic” about Woodroof: he’s a selfish jerk and he knows it. He also, however, refuses to give up, refuses to lie down just because the odds aren’t good. He refuses to listen to “experts” who’ve written him off, friends who’ve turned their back on him and a society that looks down on him. Ultimately, Ron Woodroof couldn’t give two shits whether you like him or not: he’s not asking society’s permission to live. Ultimately, Ron (and Dallas Buyers Club) stand as towering testimony that the spark of life can never be truly extinguished as long as the will to survive is strong. Dallas Buyers Club was a profoundly moving experience and was, without a doubt, one of the very best films of 2013.

My 2013 Academy Award Picks

Tags

2013 Academy Awards, 86th Annual Academy Awards, Academy Award guesses, Academy Awards, Alexander Payne, Alfonso Cuaron, award shows, Captain Phillips, Cate Blanchett, cinema, Dallas Buyers Club, Film, Movies, Nebraska, Oscars

With the 86th annual Academy Awards ceremony drawing ever closer, I thought now might be as good a time as any to offer up my list of winners for this year’s event. This year actually marks the first time in quite some time (since the ’90s, I think) that I’ve been able to see a pretty fair percentage of the nominated films, so I hope that my “educated” guess end up being a bit more accurate than my “shot-in-the-darks” from the past.

Despite a concentrated effort to see as many nominated films as possible this year (including a last minute trip to the theater this coming weekend to see Philomena), there have still been several films that I truly regret missing. Any of these, I’m sure, would have been worthy contenders but I just never ended up getting to them before the ceremony: Her; The Wolf of Wall Street; August: Osage County; Ernest & Celestine; The Wind Rises; Inside Llewyn Davis; The Missing Picture; and Omar

Without further ado, no fanfare and a certain amount of self-doubt, then, I present my 2014 choices.

— Best Picture: I would love to see Nebraska win but I have a feeling that American Hustle might win, which will be a little sad.

— Best Director: My personal preference would be Alexander Payne but I could totally see Alfonso Cuaron taking the statue and I wouldn’t mind in the slightest.

— Best Actor: I feel that Dern and McConaughey are neck-and-neck for this but I think that McConaughey displayed the wider range and really inhabits his character completely. Any other time, I would be 100% behind Chiwetel Ejiofor but Dern and McConaughey were real show-stoppers.

— Best Actress: Without seeing Judi Dench in Philomena, I’m inclined to go with Cate Blanchett. My opinion might change after this weekend but Blanchett was pretty stunning in Blue Jasmine.

— Best Original Screenplay: They were both exceptionally sharp and witty but I fell completely in love with Bob Nelson’s script for Nebraska just a bit more than Woody Allen’s for Blue Jasmine. Either one are suitable choices, as far as I’m concerned, and Dallas Buyers Club would be up here in a less crowded year.

— Best Adapted Screenplay: My gut instinct tells me to go with Philomena on this one, even though I’ve yet to see it. Of the other two I saw (Captain Phillips, 12 Years a Slave), I felt that the former had a pretty bad script, to be honest, and that the latter had a pretty good script. Probable winner? Before Midnight, methinks.

— Best Supporting Actress: Before watching Nebraska, I felt that 12 Years a Slave’s Lupita Nyong’o was a total lock for this. Afterwards, however, there’s just no way I can’t throw love in June Squibb’s direction. Her performance as Kate was an absolute stunner: if you don’t have at least one relative like this, you probably don’t have any family at all.

Best Supporting Actor: Without a doubt, this deserves to go to Barkhad Abdi for Captain Phillips. I would also accept Jared Leto for Dallas Buyers Club but will flip my wig if Fassbender wins: I didn’t find anything exceptional about his performance in 12 Years a Slave whatsoever.

Best Animated Film: I’ve only seen the Croods, thus far, so I don’t have much to go on. I absolutely loved the film, however, so it would be just dandy if it won the gold statuette. My instinct? The Wind Rises, for the win.

Best Cinematography: Before Nebraska, Gravity would have been the no-brainer here. After soaking in Nebraska’s gorgeous and completely evocative black-and-white cinematography, however, I’m ready to call an audible and buck the obvious choice. Don’t get me wrong: the camera-work in Gravity was jaw-dropping. The camera-work in Nebraska, however, was heart-breaking.

Best Costume Design: The only two entries I saw in this category (American Hustle, 12 Years) didn’t blow me away at all, so I’m going to go with one I didn’t see: The Great Gatsby. No matter how empty Luhrmann films might be, the always look great and I’m sure Gatsby’s no exception.

Best Documentary Feature: In any other year, any of the other docs (with the possible exception of 20 Feet From Stardom) would have been easy contenders. This year, there’s only one that could: The Act of Killing. This will end up being the “Free Spot” in any Oscar-guessers Bingo card: mark my words.

Best Documentary Short: I didn’t manage to see any of these but my money is on The Lady in Number 6, particularly since the subject just died a few days ago.

Best Film Editing: I’m inclined to go with Gravity but Captain Phillips was pretty seamlessly edited, as well. Any picks for tech awards besides Gravity feel a little iffy this season, however, so Gravity is probably the safer best.

Best Foreign Language Film: I’ve only seen one, The Hunt, and I thought it was a stunner. That being said, I’ll be seeing two more before Sunday (The Broken Circle Breakdown and The Great Beauty) and there’s every chance that Broken Circle will wreck me completely. We’ll see.

Best Makeup and Hairstyling: If Dallas Buyers Club doesn’t get it, the award better go to Bad Grandpa so we at least get the chance of a pithy Knoxville quote.

Best Original Score: The only one I saw on the short-list was Gravity and, to be honest, I wasn’t overly impressed (most of the time). My bet is on Her, since William Butler and Owen Pallet did the score: that’s some serious indie-rock nirvana, right there.

Best Original Song: Without hearing any of them (or seeing the requisite films), I’m going to do the obvious thing and select Frozen’s “Let it Go.” My other choice would have been the odd Christian song but those jerks removed that option: what nerve!

Best Production Design: I’m inclined to say Gravity but, as mentioned above, I’m pretty sure that The Great Gatsby was a visual stunner. I could see either of those winning, with American Hustle serving as a sneaky wildcard.

Best Animated Short Film: I didn’t manage to see any of these this year but the retro-animated Disney short Get a Horse! seems like a pretty obvious contender.

Best Live Action Short Film: My knowledge of these entries, unfortunately, only extends to their titles, so this one is a complete wash.

Best Sound Editing: As mentioned above, any tech awards guesses that don’t feature Gravity are probably lost causes but I (for some reason) could see either Captain Phillips or The Hobbit 1.2 taking this award.

Best Sound Mixing: I’m going with Gravity, again, but this could also go to Phillips or The Hobbit. Possible wildcard? Lone Survivor, whose only nominations were for both sound categories. Perhaps the Academy knows something I don’t?

Best Visual Effects: I’m, obviously, inclined to give the trophy to Gravity. I wasn’t particularly impressed by the visual effects in the first part of The Hobbit and, since all three films were made simultaneously, I expect more of the same in the second installment. Furthermore, voters already rejected The Hobbit once, last year, in favor of Life of Pi. Is it so hard to imagine the same thing won’t happen again with Gravity?

So there you have it: my not-so humble picks for this year’s ceremony. All in all, this ended up being a pretty damn good year for movies: it will be interesting to see what long-shots and sure-things end up pulling through this Sunday.

2/8/14: If We Can’t Have It, Neither Can You

Tags

a-tests, Academy Award Nominee, Academy Awards, atomic tests, Best Feature Documentary nominee, Bikini Atoll, cancer, documentaries, documentary, island paradises, John Smitherman, Marshall Islands, nuclear radiation, nuclear weapons, Operation Crossroads, Radio Bikini, Robert Stone, The Manhattan Project, U.S. Navy, World War II

It’s always interesting to look back on simpler times, especially as regards technological and scientific breakthroughs. We take so much for granted nowadays (television, the Internet, cars) that it seems almost unfathomable that there could ever be a time when these inventions were just a twinkle in our collective eyes. The first unveiling of these things must have been a heady mixture of terror and wonder: terror at the infinite gaping maw of the unknown, wonder at the infinite possibility of the world around us. If something like television must have initially seemed awe-inspiring, how must the first nuclear weapons have seemed?

Radio Bikini, a 1988 Academy Award nominee for Best Documentary Feature, examines the effects of Operation Crossroads on the Bikini Atoll, including the residual damage caused to both the uprooted indigenous natives and U.S. servicemen and scientists. Operation Crossroads was a series of naval A-bomb tests in 1946, mere months after the first atomic bombs were used to level Hiroshima and Nagasaki. The Navy wanted to test the strength of warships against atomic power and chose an idyllic, albeit occupied, series of islands in the Pacific. The U.S. relocated the natives to nearby islands, moved scientists and soldiers in, built a base and began conducting test (both above and below water). As a point of reference, the film follows one particular serviceman, John Smitherman, from his time on the project to the present (1983, at the time). Smitherman died of complications related to radiation exposure shortly after the film was finished, so that probably gives you a pretty good idea of what happened.

You see, like any new technology, folks weren’t quite sure what to make of this newfangled nuclear power. As such, the early days of the tests look more like a beach party: everyone runs around in beach-wear (it is a beautiful tropical island, after all), the guys flirt with the girls and everyone gets plenty of ice cream and beer. Seems great, huh? They also all get an up-close and personal view of the a-tests, which later proves to be less than ideal for those involved. For, as we’ve come to accept as part-and-parcel nowadays, the lingering radioactive effects of nuclear tests could become an even more dire heritage than their fiery destructive capabilities. We didn’t know that in 1946, however, but we’d sure figured that out by the ’80s, when nuclear disarmament became a cause celebre.

Radio Bikini is nothing if not sobering and eye-opening, especially once one gets to the final reveal of Smitherman’s condition (I honestly had no idea what was coming and was suitably shocked by the conclusion). The contrast between the care-free, happy days of the tests versus their future impact is particularly powerful: it’s quite illuminating to hear eye-witnesses complain about how they expected the tests to be more explosive and impressive. It’s quite terrifying to witness observers get drenched with (obviously) radioactive water after one underwater bomb test and stand there laughing, as if they’d just come from an amusement park ride. Our current understanding of the terrible power of nuclear power hangs over every frame of the film like a rag-clad grim reaper, reminding us that the majority of the smiling faces on-screen will meet very unpleasant ends.

The other cost of the tests, of course, and the source of much of the film’s emotional punch, is the plight of the relocated natives. This was, after all, their ancestral home and the U.S. government pretty unceremoniously went in and kicked them out. Not only kicked them out but nuked the place, rendering it completely uninhabitable for generations: talk about crappy neighbors! The film does a good job of showing the conflicting emotions of the villagers (they want to help but are never told enough to be genuinely informed) and the way in which the government effectively shunted them to the side. There’s a truly sad scene where we see the military representatives explaining the relocation to the natives. Since the government is filming the scene (presumably for some sort of publicity back home), they do it several times, leading to no end of confusion for the natives. Being told you’re getting kicked out of your home once is bad enough: being told three times because the sound guy screwed up the previous two takes seems like unconscionable torture, as far as I’m concerned.

At one point, the natives’ chief passionately states that he just wants to be able to return to the home of his ancestors again before he dies. It’s a pain that’s obviously shared by the rest of the natives, especially when one considers the paradise they used to live in. They go from ample fishing and foraging in the land they were raised in to scant pickings on neighboring islands as their former paradise is bombed to bits by nuclear weapons. The injustice is pretty palpable and the complete indifference of the various government and military figures we see certainly doesn’t help matters much.

While Radio Bikini is certainly sad and thought-provoking, it also proves to be quite awe-inspiring, as we get up-close footage of the actual atomic tests. I can honestly say that few things in the universe must be as simultaneously beautiful and horrifying as a nuclear explosion. We get to feel a measure (if only an iota) of the awe that the actual observers must have felt as the inferno torched the surrounding area, sending that iconic mushroom cloud up to the heavens. The underwater explosion, in particular, was chilling, especially when one thinks of the widespread effect on the surrounding seas as the huge shockwave pulses for what seems likes miles in every direction. It looks like the apocalypse and must have felt like it from nearby.

As a documentary, Radio Bikini is pretty good, helped immeasurably by the fascinating story being told. It is an inherently sad film, both for the actual effects on those involved and the idea that the nuclear age marked a clear turning point from the past, a headlong dive into technological and scientific pursuits that would come to characterize the next 70 years of our existence. At the time, we undoubtedly saw a much rosier future, a much more glorious and exciting atomic era of prosperity and invention. I’m not so sure that the dispossessed islanders saw it the same way, however, and I’m pretty sure Smitherman didn’t, either.

2/6/14: The Worst Trip He’s Ever Been On (Oscar Bait, Part 6)

Tags

Academy Award Nominee, Academy Awards, action films, Barkhad Abdi, based on a book, based on a true story, Best Picture nominee, Best Supporting Actor nominee, Captain Phillips, cinema, film reviews, films, hijacking, hostages, lifeboat, Movies, Muse, Navy SEALS, Paul Greengrass, poverty, Somali pirates, Somalia, The Bourne Supremacy, The Bourne Ultimatum, Tom Hanks

My Oscar quest continues with the third Best Picture nominee: Captain Phillips. How did this stack up against American Hustle and 12 Years a Slave? How Hanksian does Mr. Hanks get? Do we get the best Supporting Actor performance of the year here? Read on for my 8 cents.

At what point does instinct kick in and override one’s natural fear or paralysis in a dangerous situation? Will our natural, primal selves always jump to the forefront when our lives are in danger or is that a pump that needs to be constantly primed? What about when we’re responsible for the lives of others? At what point does our psyche separate the need to fulfill one’s duty with the inherent need to survive? And what happens to our “normal” selves if we do manage to make it past the crisis? Is there ever an easy way to return to the “same-old-same-old” after that?

Paul Greengrass’ Captain Phillips (2013) has several things on its plate but this notion of personal sacrifice in the face of turmoil is certainly one of them. Almost as vital (perhaps more so, depending on how you look at it), however, is a storytelling-related issue: what factors truly make someone a “villain” versus a “victim of circumstance”? When a “bad guy” looks in the mirror, does he see a “bad guy” looking back or is that notion only reserved for whoever is directly opposing him? The film makes a pointed and very powerful assertion: if we could truly look behind the scenes and see the various factors at play in any conflict or confrontation, it would become very difficult to assign any measure of blame. This is heady stuff, particularly in a film about Somali pirates capturing an American ship. That the film manages to place this notion in the forefront of audiences’ minds while still being a rip-snortingly tense action film gives a pretty good notion as to why Captain Phillips found itself on the year-end shortlist.

Captain Phillips is the true story of the 2009 hijacking of the Maersk Alabama, a U.S. cargo ship captained by the titular individual (played by Tom Hanks). We see a little of his family life (loving wife, grown kids) and a little of his work ethic (stern but friendly boss, detail-oriented) before he’s taken command of the Alabama and set sail. While on the open seas, the ship strays from the safer, more packed sea routes and into an area patrolled by Somali pirates. Sure enough, Phillips and his crew end up in the crosshairs of Muse (Barkhad Abdi) and his pirate crew. After a thrilling cat-and-mouse chase, the pirates board the Maersk Alabama, forcing Phillips to use all of his wits, charm and nautical knowledge to keep his crew safe and defuse the situation. Once the U.S. Navy and the Seals get involved, however, the whole enterprise becomes even more dangerous and convoluted, hurtling everyone towards a potentially explosive and violent end.

In order to get a sense of the overall feel of Captain Phillips, it helps to examine director Greengrass’ other films: he was the man behind The Bourne Supremacy (2004) and The Bourne Ultimatum (2007), as well as the 9/11 film United 93 (2006) and the Matt Damon-starring action film Green Zone (2010). In most of these films, Greengrass combines a keen sense of action and tension (much of which unfolds so quickly that it seems to be happening in real-time) with subtle (sometimes, not so much) critiques of the U.S. war/espionage complex. While Captain Phillips only touches briefly on the war aspect (the battleship that intervenes and the Seal team) and not at all on the espionage side, American policies end up being a key part of the rationale behind the actual attack. At one point, Muse tells Phillips that he and the other pirates are actually fishermen but foreign commercial fishermen have emptied their seas, leaving them with no way to earn a livelihood.

In fact, this idea that the Somali pirates are not, in effect, terrorists but rather normal human beings put in a completely untenable position, is the aspect of Captain Phillips that truly sets it apart. Imagine if Die Hard went out of its way to establish the terrorists as fundamentally decent people who need to hold their hostages in order to provide for their families. In a typical Hollywood film, this tact would naturally lead one to assume that the John McClane character would, by default, need to become the bad guy. Captain Phillips upends this notion by making the captive captain just as much of a down-to-earth guy as the desperate pirates. The pirates are hijacking the ship because a local Somali warlord will gun down their families if they don’t: Phillips is doing everything he can to keep he and his crew safe, so that they can return to their own families. If there are any real “bad guys” in the film, they’re probably the foreign fishing interests that have conspired to create this situation in the first place.

In fact, my biggest overall complaint about Captain Phillips is that the film doesn’t spend nearly enough time with the Somalis: more scenes from their village or the pirate mother-ship would have fleshed out their characters even more and given ample opportunity to contrast their lives with the American crew. As it is, the film plays as more of a fast-paced action film, bookended by mundane opening and emotional finale. There nothings inherently wrong with that approach: in many ways, Captain Phillips is the smartest action film to come out in quite some time, perhaps ever. If one were to cut out all of the non-hijacking related footage, you would be left with an extremely lean, mean, tough little film, something that’s definitely closer in feel to the Bourne films.

As such, however, the film provides me with a bit of a head-scratcher: is a film that is, essentially, an action film (even if an extremely well-made action film) really the best film of the year? Since the film seems to lean much heavier on the action versus the dramatic sequences, I certainly feel it’s fair to characterize it as such. I’ve only seen three of the nominees, thus far, but Captain Phillips certainly doesn’t seem like a better overall film than 12 Years a Slave, even if it’s undeniably more fun. Hanks, in particular, struck me as slightly off. At first, I was rather annoyed with his performance: it seemed too “Hanksian,” at the beginning, an impression not helped by the tediously expository dialogue. Note to screenwriters: as a rule, married couples don’t usually take the time to remind each other that they have children, especially grown children, unless they’re really trying to let the audience know. In fact, the script often felt like it got in the way of Captain Phillips truly taking off: much of the non-action scenes have the same overly expository feel of the opening, as if the filmmakers wanted to make sure that the audience didn’t miss any pertinent information. It’s an obvious, if slightly irritating trick, and it makes the film’s Best Adapted Screenplay nomination feel a bit odd.

Much has also been made of the fact that golden boy Tom Hanks was snubbed on a Best Actor nod, despite being such a massive presence in the film. To be honest, this made a lot of sense to me: Hanks’ performance gets steadily better and more emotional as the film progresses, culminating in a pretty powerful moment at the end, but there’s a lot of dead air there, too. In particular, much of his performance in the film’s first third seems forced and…well…”Hanksian.” Things get radically better once he ends up on the lifeboat with the four pirates but it’s (occasionally) a slog to get there.

What makes complete sense, however, is newcomer Barkhad Abdi, as Muse the defacto pirate captain. Abdi is a revelation, an actor so natural and subtle, yet so gifted at communicating small emotions with just his eyes and face, that he (essentially) wipes the floor with everyone else, including Hanks. Abdi’s performance never seemed like acting and he had a number of truly heartbreaking moments. I’ve only seen three of the five nominated Best Supporting Actor performances but Abdi’s is easily the best, completely outshining Fassbinder in 12 Years and edging out Cooper’s perm in American Hustle by virtue of its searing honesty.

Ultimately, I wanted more of Abdi’s Muse. The film may be about the things that happened to Captain Phillips but it strains to be so much more. With more of an emphasis on the pirates’ home-life (this is the rare film that could have been at least 30-45 minutes longer than it actually was), Captain Phillips may have been a complete classic. As it stands, however, Greengrass and company have managed to craft one absolutely thrilling action film with just enough of a socially conscious heart to stand out from the pack. Is it the best film of the year? Probably not. Is it good enough to be considered? Absolutely.

2/3/14: Shouting Into the Snow (Oscar Bait, Part 5)

Tags

Academy Award Nominee, Academy Awards, Alexandra Rapaport, Annika Wedderkopp, Best Foreign Film nominee, child abuse, cinema, Danish films, Dogme 95, false accusations, film reviews, films, Franz Kafka, guilty until proven innocent, hunting, independent films, Jagten, Lars von Trier, lies, Lucas, Mads Mikkelsen, Movies, Susse Wold, The Hunt, Thomas Bo Larsen, Thomas Vinterberg, tragedies, witch-hunts

Journey back in time to last week…Monday, to be exact. On that particular day, my Oscar viewing continued with the first of the Best Foreign Language Film nominees that I’ve been able to see: Thomas Vinterberg’s The Hunt.

Imagine being accused of a crime that you know you didn’t commit. Regardless of how much you protest, how much evidence you amass in your favor, the tide of public opinion continues to turn against you. Former friends shun you or, worse, spit on you. Loved ones doubt you. You’re not even able to shop at the local grocery store, since they don’t even want your money. Everywhere you turn, there is nothing but obscenity, hatred and fear: you have become, truly, an island unto yourself. This Kafkaesque scenario would be terrifying enough under the best of circumstances. Now: imagine that you’re a beloved elementary school teacher and the crime you have been falsely accused of is child abuse. This bleak, terrifying and soul-crushing experience forms the crux of Vinterberg’s powerful, solemn The Hunt.

Lucas (the always amazing Mads Mikkelsen, never better) is a well-liked elementary school teacher still trying to put the pieces together after a particularly acrimonious divorce and custody battle. He is absolutely devoted to his students, the kind of teacher that makes Mr. Holland look like a raging bully. Lucas is best friends with seemingly every male in town, hanging around with best friend Theo (Thomas Bo Larsen) whenever possible. Lucas has just began to date one of his co-workers, Nadja (Alexandra Rapaport), and has finally received word that his son, Marcus (Lasse Fogelstrom), will be able to stay with him, signalling a thawing, of sorts, in the battle with his ex-wife. Lucas is adored by every student in the school, none more so than Theo’s angelic little daughter, Klara (Annika Wedderkopp).

Klara, unfortunately, is the definition of a troubled child. Her parent are constantly fighting, her older brothers have gotten into the disturbing habit of showing her internet porn and she’s looking for affection from whomever will pay attention to her. The object of her affection, unfortunately, becomes Lucas. When he admonishes the girl after she plants an illicit kiss on his lips, Klara becomes sullen and upset. Later on, she tells the school’s administrator Grethe (Susse Wold) that Lucas has exposed himself to her, confusing the porn that she has seen with reality. Grethe jumps on the story and, in an effort to move as quickly as possible, does little to no fact-checking. In no time at all, the entire town has turned against Lucas: he’s let go from his job, the local grocery store refuses to sell to him and his friends, led by Theo, have turned violently against him. No matter how much Lucas protests, no one will believe him. Even worse: the other students are now beginning to say that Lucas molested them, as well, even if their shared story prominently mentions a non-existent basement. It’s up to a small, dedicated group of relatives and friends to try and clear Lucas’ name but will they succeed? And will there be anything left of Lucas or his reputation if they do?

Foreign-film fans might recognize writer/director Vinterberg as one-half of the team responsible for bringing the concepts of Dogme 95 to the world at large. Along with famed agitator and all-around genius Lars von Trier, Vinterberg came up with Dogme 95 as a reaction against the spiraling budgets and endless special effects extravaganzas of films in the 1990s. The first “official” Dogme 95 film was actually Vinterberg’s The Celebration, which The Hunt resembles in many ways. There’s also quite a bit of von Trier’s dour influence to be found here, whether it be in the icy, sterile environments or the escalating piles of misery heaped onto the lead character. And make no mistake about it: there is plenty of misery to go around here.

Like von Trier, Vinterberg examines the many, many forces that conspire to utterly crush and destroy a person’s humanity and the capricious way in which luck and fate can make this possible. The entire source of Lucas’ downfall comes from one single lie, a lie that he had nothing to do with and did nothing to contribute to. This stands in sharp contrast to traditional notions of tragedy, where a character’s fatal flaw always contributes to their inevitable downfall. In this case, Lucas’ biggest sin seems to be that he genuinely likes and cares for the children. His caring is twisted into something ugly but it’s completely illusory: never once is the audience made to believe that Lucas is guilty in any way, shape or form. This fundamental understanding of his innocence, on behalf of the audience, stands in sharp contrast to his neighbor’s absolute belief in his guilt, sans any proof. As Theo says, he knows that his daughter would never lie, about anything, so Lucas has to be guilty, regardless of any proof.

It’s a maddening concept but one that’s been played out too many times in the media to be discounted as simply a fictional construct. Just as any claim of abuse must be thoroughly investigated, so, too, must that investigation be through, fair and clear-headed. The violent persecution of an individual based on nothing but innuendo and hearsay is, as the film makes abundantly clear, nothing short of a witchhunt (perhaps “the hunt” of the title, despite the prominence of deer-hunting in the story).

The Hunt is a sober, unrelenting and unflinching film, although there are just enough moments of levity and joy to make the surrounding darkness and misery hit that much harder. The film actually begins with its most joyous sequence, a bit where Lucas and his friends skinny-dip in a icy lake, only for Lucas to end up saving one of the others from drowning. It’s a great bit of shorthand that quickly and efficiently establishes the characters and their relationships. This scene stands in sharp contrast with the film’s emotional centerpiece, the Christmas Eve service.

In a film that contains many striking scenes and images, the Christmas Eve church service still manages to stand head-and-shoulders above the others. At the nadir of his experience and ostracized from everyone in the town, Lucas decides to make his stand at the church. The entire town is gathered there, bathed in the beautiful warm glow of lights, candles and holy righteousness. Lucas enters the church and makes his way to the very front, past every disapproving glare and silent reproach, past the downcast, baleful glances of Theo and his family. As he sings the hymn, we get a close-up of Mikkelsen’s face and the effect is like getting kicked repeatedly in the stomach: we see the sorrow, the pain and the fear in Lucas’ eyes, feel them through the tears that stream down his face. We also, however, get a front-seat to the anger and hatred that have been simmering in him, emotions brought to a full-boil as Lucas finally directs his rage at the town, in general, and Theo, in particular. It’s an amazing scene, one of those moments that is simultaneously too painful to watch and too incredible to look away from. In any other hands, whether a different director or a lesser actor, the scene may have stumbled into the realm of the histrionic. As it is, however, it’s a perfectly brittle, lacerating moment, easily the equal of anything in von Trier’s films.

In many ways, The Hunt can be seen as a sort of Dogme 95 film, although the cinematography is genuinely gorgeous and much better than one usually sees in Dogme films. The raw emotions, simple structure and naturalistic lighting, however, are all elements that are readily associated with the Danish film movement. As with other Dogme films, the acting is of primary importance and The Hunt does not disappoint on that angle. Were there any justice, Mikkelsen would be a lock for whatever the Danish equivalent of the Best Actor award would be: he’s one of the only actors I’ve ever seen who can be simultaneously chilly and vulnerable. If Ingmar Bergman were still around, I’m pretty sure that Mikkelsen would be his muse. There’s one moment, where Lucas returns to the grocery store that turned him away, that serves as a minor bright spot of badassery in an otherwise grim landscape: after being beaten and humiliated by the butcher and several bag-boys earlier, Lucas returns to collect and pay for his groceries, mustering as much dignity as he can. When he’s confronted by the butcher, Lucas proceeds to lay the kind of righteous ass-whupping upon the guy that made me stand and pump my fist in the air: it’s a small victory but it’s his victory, dammit, and ours, by default.

In the end, The Hunt is an exceptional film, the kind of quiet, powerful art that sinks its claws into you and refuses to let go. There are no easy answers, here, and no handy villains. Despite the destructive power of her lie, it’s impossible to hate Klara: she’s just as much a victim as Lucas, ultimately. Likewise, we cannot hate Theo: he’s only making the same terrible decision that any parent in a similar situation would need to make. What, then, can we blame for Lucas’ turmoil? As vague as it may seem, Vinterberg seems to have a clear target in mind: if you want to blame anything for what happened to Lucas, blame the misery of humanity. It’s a heart-breaking revelation but it’s the closest we’ll get to absolute truth in The Hunt.