Don't want to fall behind
PICNIC (1955) - via Comcast On-Demand
Oscar Count
Best Picture 1/5
Best Supporting Actor 2/5
Best Director 1/5
12 MONKEYS (1995)
Oscar Count
Best Supporting Actor 2/5
Tuesday, July 5, 2011
Tuesday, June 28, 2011
For the Record
ALL ABOUT EVE (1950)
Oscar Collection: Best Picture 1/5 - Supporting Actor 1/5 - Actress 2/5 - Supporting Actress - 2/5 - Director 1/5 - Adapted Screenplay 1/5
SUPER 8 (2011)
EUROPA (1991) Criterion #454
SESSION 9 (2001)
HOLY ROLLERS (2010)
Oscar Collection: Best Picture 1/5 - Supporting Actor 1/5 - Actress 2/5 - Supporting Actress - 2/5 - Director 1/5 - Adapted Screenplay 1/5
SUPER 8 (2011)
EUROPA (1991) Criterion #454
SESSION 9 (2001)
HOLY ROLLERS (2010)
Thursday, June 9, 2011
EPIDEMIC / THE HANGOVER PART 2 / 127 HOURS
EPIDEMIC (1987)
I wanted to keep true to my completist desire to see all components of any film considered a loose trilogy. But the reviews of this one I came across were almost uniformly negative. So I was not eager to watch this all the way through out of some obligation. For better or worse, the Playstation Network shut down for over a month last month, meaning that I could not watch Netflix instant through my large TV. So I watched this in parts which I think is the best way to appreciate it's somewhat unique qualities. So it was not a great experience, but I have now seen the second installment of Lars Von Trier's Europe Trilogy. The third installment, Europa, from 1991 is available on Netflix Instant and very well-regarded.
THE HANGOVER PART II (2011)
I caught the buzz of the original Hangover very late, but I still enjoyed it. That is, I appreciated it, until I noticed, after seeing Due Date, that for as long as I can remember, movies where an eccentric weirdo destroys the lives of innocent people really bother me at a kind of deep level. I wish I could come up with specific examples, but I'm talking about movies where slightly cranky but perfectly normal, moral people have their lives turned upside down by a malicious loser, and the film is supposed to make it seem like we are supposed to look down at these normal people for getting increasingly upset at this crazy unexpected twist in their perfectly fine lives. In the end the lesson seems to be that we are supposed to forgive these abnormal losers because of some half-apology they make before they once again embarrass everyone around them with their evil shenanigans.
What I'm saying is that the Zach Galifianakis character is that guy. And while he was the catalyst to get the comedy going in the first movie I was more angry at him in the second one, since it took a whole lot of tolerance to invite him to come along in the first place. I should just have fun with this movie, but it actually didn't provide a whole lot of new ideas.
127 HOURS (2010)
5/5 OSCAR FOR BEST ACTOR, 6/10 Best Picture, 3/5 Best Adapted Screenplay
The most intriguing aspect of this movie, before I saw it, was how a portrayal about this singular event could be made compelling over the length of a feature film. Fortunately, Director Danny Boyle and his editors use every fast-paced technique and creative narrative devices to keep this interesting, even when most of the movie ends up involving James Franco struggling to escape his fate. The performance is wonderful, as you get a very patient portrayal of what it's like for a very free spirit to become slowly insane as all options become extremely limited.
Recap of Oscars coming...
I wanted to keep true to my completist desire to see all components of any film considered a loose trilogy. But the reviews of this one I came across were almost uniformly negative. So I was not eager to watch this all the way through out of some obligation. For better or worse, the Playstation Network shut down for over a month last month, meaning that I could not watch Netflix instant through my large TV. So I watched this in parts which I think is the best way to appreciate it's somewhat unique qualities. So it was not a great experience, but I have now seen the second installment of Lars Von Trier's Europe Trilogy. The third installment, Europa, from 1991 is available on Netflix Instant and very well-regarded.
THE HANGOVER PART II (2011)
I caught the buzz of the original Hangover very late, but I still enjoyed it. That is, I appreciated it, until I noticed, after seeing Due Date, that for as long as I can remember, movies where an eccentric weirdo destroys the lives of innocent people really bother me at a kind of deep level. I wish I could come up with specific examples, but I'm talking about movies where slightly cranky but perfectly normal, moral people have their lives turned upside down by a malicious loser, and the film is supposed to make it seem like we are supposed to look down at these normal people for getting increasingly upset at this crazy unexpected twist in their perfectly fine lives. In the end the lesson seems to be that we are supposed to forgive these abnormal losers because of some half-apology they make before they once again embarrass everyone around them with their evil shenanigans.
What I'm saying is that the Zach Galifianakis character is that guy. And while he was the catalyst to get the comedy going in the first movie I was more angry at him in the second one, since it took a whole lot of tolerance to invite him to come along in the first place. I should just have fun with this movie, but it actually didn't provide a whole lot of new ideas.
127 HOURS (2010)
5/5 OSCAR FOR BEST ACTOR, 6/10 Best Picture, 3/5 Best Adapted Screenplay
The most intriguing aspect of this movie, before I saw it, was how a portrayal about this singular event could be made compelling over the length of a feature film. Fortunately, Director Danny Boyle and his editors use every fast-paced technique and creative narrative devices to keep this interesting, even when most of the movie ends up involving James Franco struggling to escape his fate. The performance is wonderful, as you get a very patient portrayal of what it's like for a very free spirit to become slowly insane as all options become extremely limited.
Recap of Oscars coming...
Wednesday, May 25, 2011
*THE FIGHTER* - 2011 Oscar Nomination Recap
THE FIGHTER (2010)
5/5 Oscar for Best Director - 3/5 Best Picture - 2/5 Best Supporting Actor - 4/5 Best Supporting Actress - 3/5 Best Original Screenplay
At this movie gained buzz, I thought "Oh no... another boxing movie". Boxing films (and to some degree wrestling/fighting films) seem to really get a lot of critical buzz for something that's a relatively narrow subject. But The Fighter overcame this common subject matter by having incredibly engaging characters that were brilliantly performed. The conflict that came with these performers crashing into eachother set the stakes for the organized physical confrontation that occurs during the narrative-serving boxing matches.
And now, I've completed all 5 Oscar nominees for Best Director from the 2011 Academy Awards. I'm finding it more and more that the "Best Film" in my eyes is very intimately tied with Best Director. Nonetheless I'll find a way to separate the movie as a whole with what I perceive to be incredible direction.
TRUE GRIT - JOEL AND ETHAN COEN
I can't fault the Coen brothers for anything... their epic Western blended the right amount a grand landscapes with intimate and quirky character moments. Something in their recent body of films tends to distance themselves from some of the more sweeping unique cinematic set pieces.
THE KING'S SPEECH - TOM HOOPER
A somewhat controversial winner for a year where King's Speech won everything, I have trouble getting excited by a basically straightforward historical drama. I didn't see anything in how the camera moved or depicted things that were any bit distinctive. Every one of the other nominees seemed to have a auter vision behind how they were using film direction to add energy to a story. Not here.
THE FIGHTER - DAVID O. RUSSELL
In my recap above I didn't talk about how this director has been interesting to follow, even though he has made only 4 films in the past 15 years or so. I didn't know what to feel about a boxing movie from the guy who made I Heart Huckabees and you really can't compare those two movies. More likely you can see elements of Three Kings in the direction, which is set on giving free-flowing character moments to ground the film in a realistic rhythm while filming the grand scenes (whether it's a war zone or boxing ring) with the respect they deserve.
BLACK SWAN - DARREN ARONOFSKY
My favorite film of last year if very close to my favorite directed film of last year, just because Aronofsky is so devoted to making his film camera a warped, intimate window into the story he's telling, obscuring just enough when appropriately bending perception and reality in the Black Swan, and in the case of the understated direction of The Wrestler, letting the moments be all too real and powerful. This film is borderline uninteresting without great direction.
#1 THE SOCIAL NETWORK - DAVID FINCHER
Inching ahead of Aronofsky's Black Swan, David Fincher's amazing job gave an otherwise frustratingly shallow script and courtroom setting a real contemporary pace that suited the lightning speed in which Internet start ups take over the world, making tons of people rich quickly and leaving many others left out. By any means a film set at a deposition table would not be a film at all but part of an episode of some throwaway legal drama. But in Fincher's capable hands (with assistance by Oscar winner Trent Reznor with music), The Social Network becomes a slick portrayal of the modern technology-infused world and a depiction of how innocent and brilliant nerds can be tempted by debauchery and capitalist tricks as much as the rest of us.
5/5 Oscar for Best Director - 3/5 Best Picture - 2/5 Best Supporting Actor - 4/5 Best Supporting Actress - 3/5 Best Original Screenplay
At this movie gained buzz, I thought "Oh no... another boxing movie". Boxing films (and to some degree wrestling/fighting films) seem to really get a lot of critical buzz for something that's a relatively narrow subject. But The Fighter overcame this common subject matter by having incredibly engaging characters that were brilliantly performed. The conflict that came with these performers crashing into eachother set the stakes for the organized physical confrontation that occurs during the narrative-serving boxing matches.
And now, I've completed all 5 Oscar nominees for Best Director from the 2011 Academy Awards. I'm finding it more and more that the "Best Film" in my eyes is very intimately tied with Best Director. Nonetheless I'll find a way to separate the movie as a whole with what I perceive to be incredible direction.
TRUE GRIT - JOEL AND ETHAN COEN
I can't fault the Coen brothers for anything... their epic Western blended the right amount a grand landscapes with intimate and quirky character moments. Something in their recent body of films tends to distance themselves from some of the more sweeping unique cinematic set pieces.
THE KING'S SPEECH - TOM HOOPER
A somewhat controversial winner for a year where King's Speech won everything, I have trouble getting excited by a basically straightforward historical drama. I didn't see anything in how the camera moved or depicted things that were any bit distinctive. Every one of the other nominees seemed to have a auter vision behind how they were using film direction to add energy to a story. Not here.
THE FIGHTER - DAVID O. RUSSELL
In my recap above I didn't talk about how this director has been interesting to follow, even though he has made only 4 films in the past 15 years or so. I didn't know what to feel about a boxing movie from the guy who made I Heart Huckabees and you really can't compare those two movies. More likely you can see elements of Three Kings in the direction, which is set on giving free-flowing character moments to ground the film in a realistic rhythm while filming the grand scenes (whether it's a war zone or boxing ring) with the respect they deserve.
BLACK SWAN - DARREN ARONOFSKY
My favorite film of last year if very close to my favorite directed film of last year, just because Aronofsky is so devoted to making his film camera a warped, intimate window into the story he's telling, obscuring just enough when appropriately bending perception and reality in the Black Swan, and in the case of the understated direction of The Wrestler, letting the moments be all too real and powerful. This film is borderline uninteresting without great direction.
#1 THE SOCIAL NETWORK - DAVID FINCHER
Inching ahead of Aronofsky's Black Swan, David Fincher's amazing job gave an otherwise frustratingly shallow script and courtroom setting a real contemporary pace that suited the lightning speed in which Internet start ups take over the world, making tons of people rich quickly and leaving many others left out. By any means a film set at a deposition table would not be a film at all but part of an episode of some throwaway legal drama. But in Fincher's capable hands (with assistance by Oscar winner Trent Reznor with music), The Social Network becomes a slick portrayal of the modern technology-infused world and a depiction of how innocent and brilliant nerds can be tempted by debauchery and capitalist tricks as much as the rest of us.
Friday, May 20, 2011
Falling behind
Not a Tuesday, but I'm losing track.
Comments later... maybe.
WIN WIN (2011)
FROM HERE TO ETERNITY (1953)
Oscar Best Picture 1/5 - Best Actor 2/5 - Best Supporting Actor 1/5 - Best Actress 1/5 - Best Supporting Actress 1/5 - Best Director 1/5 - Best Adapted Screenplay 1/5
NOTORIOUS (1946)
Best Supporting Actor 1/5 - Original Screenplay 1/5
Criterion #137
Comments later... maybe.
WIN WIN (2011)
FROM HERE TO ETERNITY (1953)
Oscar Best Picture 1/5 - Best Actor 2/5 - Best Supporting Actor 1/5 - Best Actress 1/5 - Best Supporting Actress 1/5 - Best Director 1/5 - Best Adapted Screenplay 1/5
NOTORIOUS (1946)
Best Supporting Actor 1/5 - Original Screenplay 1/5
Criterion #137
Tuesday, May 3, 2011
AUGUST EVENING
AUGUST EVENING (2007)
A 2008 WIFF selection...
Just I was starting to think that my 2011 WIFF experience was so disappointing that indie/foreign/artsy films were starting to wear me down, I pick up this selection from the program of my first film fest experience in 2008 and am very pleased. Mind you, there's nothing spectacular or epic in this film, and probably as months and years go by, memories of this movie will be replaced by the top-notch memorable cinema from any background that catches anyone's attention.
But this understated film is patient, puts you in a unique setting, and provides well-rounded engaging characters acting in normal human ways. The film is over two hours, but it is only until the very end that it drags just a teeny bit. Otherwise, August Evening is skillfully made, unique, and completely worthy of my time.
More news from WIFF 2011 shortly...
A 2008 WIFF selection...
Just I was starting to think that my 2011 WIFF experience was so disappointing that indie/foreign/artsy films were starting to wear me down, I pick up this selection from the program of my first film fest experience in 2008 and am very pleased. Mind you, there's nothing spectacular or epic in this film, and probably as months and years go by, memories of this movie will be replaced by the top-notch memorable cinema from any background that catches anyone's attention.
But this understated film is patient, puts you in a unique setting, and provides well-rounded engaging characters acting in normal human ways. The film is over two hours, but it is only until the very end that it drags just a teeny bit. Otherwise, August Evening is skillfully made, unique, and completely worthy of my time.
More news from WIFF 2011 shortly...
Friday, April 29, 2011
WIFF report #1
WIFF 2011
Well, the buzz can’t last forever. Now with some distance between my 4th straight Wisconsin Film Festival I can appreciate the experience a little bit more. Once again, I had to leave early before I could see my last scheduled movie, How I Ended Last Summer, which could have very well been my favorite of the weekend, because it was set in a unique environment (Russian outback) and seemed to be very atmospheric. But I did see 3 documentaries, 5 narrative films, and a short film showcase. No doubt I reached my goal of seeing as much of a variety as films as possible, but sometimes the filmmaking vision just isn’t there and doesn’t resonate. With 200+ films to choose from (plus a key film that was at the top of my list that sold out immediately), sometimes you just get the bad luck of the draw. But I’m proud of what I saw. When you’re at a museum, you can follow the crowd and look at whatever paintings everyone is admiring, or you can explore some forgotten corners of exhibit halls. When you finally see what works are collected in those less-visited places, you both understand why they aren’t as popular, but also glad you took a look at something less appreciated.
VIVA RIVA!
Starting off my film fest weekend, was my first example of a popular release from “Nollywood”, a Nigerian-based filmmaking industry that churns out movies popular in Africa quickly and cheaply. This is close to the best film of the festival, not because it profoundly moved me, but it delivered a completely unique context and environment spot-on perfectly. Now, if you are familiar with film noir tropes there’s definitely some tangents here that don’t serve a larger story, but definitely serve the gangster film genre. But through this very different filter, you get some interesting surprises, and understanding the larger cultural context adds to a multi-dimensional film-viewing experience as well. You don’t need to be living in Africa to enjoy this, but it’s intriguing to place yourself in the shoes of a Nollywood follower in Africa. What form of escapism does this kind of film provide? What cultural cues and references don’t make sense to my Western sensibilities? What elements from cinematic traditions, both old and new, influence how this story is told? All of those things and more add something deeper to this movie, even though on the surface it’s a very basic (maybe even basic-cable TV movie caliber) tale of a gas smuggler, the rival gang that is pursuing him, and the fallout brought down upon the eccentric characters that assist the protagonist. A lot of fun.
MARWENCOL
After rushing from Rockford to get top my first movie on time (I didn’t take any early time off), I had this film at 10:30pm, and I can conclude that most of my thoughts towards it are probably influenced by how late it was, and how it was distinctly not a type of movie that should air this late. A lot of the WIFF 10:30pm-11:00pm shows have a lot of off-kilter midnight movie elements. This is definitely offbeat but it’s portrayed so patiently and brightly that it is incredibly hard to concentrate, especially when something trashy, energized, and dark is what you’re looking for when you are trying to stay awake. In fact reverse the order of my film schedule for this Friday night, and I think I might have enjoyed both better.
Nonetheless, this documentary is an interesting character study of a eccentric fellow who was savagely beaten and suffered brain damage. Already an eccentric alcoholic, the injury caused him to develop a form of art therapy where he built a model World War II - era European town in his backyard, with dolls and figurines designed to represent real people in his life. There's nothing much beyond an interesting window into mental illness, and I think without something broader or even weirder it wasn't as engaging as I thought it would be.
Well, the buzz can’t last forever. Now with some distance between my 4th straight Wisconsin Film Festival I can appreciate the experience a little bit more. Once again, I had to leave early before I could see my last scheduled movie, How I Ended Last Summer, which could have very well been my favorite of the weekend, because it was set in a unique environment (Russian outback) and seemed to be very atmospheric. But I did see 3 documentaries, 5 narrative films, and a short film showcase. No doubt I reached my goal of seeing as much of a variety as films as possible, but sometimes the filmmaking vision just isn’t there and doesn’t resonate. With 200+ films to choose from (plus a key film that was at the top of my list that sold out immediately), sometimes you just get the bad luck of the draw. But I’m proud of what I saw. When you’re at a museum, you can follow the crowd and look at whatever paintings everyone is admiring, or you can explore some forgotten corners of exhibit halls. When you finally see what works are collected in those less-visited places, you both understand why they aren’t as popular, but also glad you took a look at something less appreciated.
VIVA RIVA!
Starting off my film fest weekend, was my first example of a popular release from “Nollywood”, a Nigerian-based filmmaking industry that churns out movies popular in Africa quickly and cheaply. This is close to the best film of the festival, not because it profoundly moved me, but it delivered a completely unique context and environment spot-on perfectly. Now, if you are familiar with film noir tropes there’s definitely some tangents here that don’t serve a larger story, but definitely serve the gangster film genre. But through this very different filter, you get some interesting surprises, and understanding the larger cultural context adds to a multi-dimensional film-viewing experience as well. You don’t need to be living in Africa to enjoy this, but it’s intriguing to place yourself in the shoes of a Nollywood follower in Africa. What form of escapism does this kind of film provide? What cultural cues and references don’t make sense to my Western sensibilities? What elements from cinematic traditions, both old and new, influence how this story is told? All of those things and more add something deeper to this movie, even though on the surface it’s a very basic (maybe even basic-cable TV movie caliber) tale of a gas smuggler, the rival gang that is pursuing him, and the fallout brought down upon the eccentric characters that assist the protagonist. A lot of fun.
MARWENCOL
After rushing from Rockford to get top my first movie on time (I didn’t take any early time off), I had this film at 10:30pm, and I can conclude that most of my thoughts towards it are probably influenced by how late it was, and how it was distinctly not a type of movie that should air this late. A lot of the WIFF 10:30pm-11:00pm shows have a lot of off-kilter midnight movie elements. This is definitely offbeat but it’s portrayed so patiently and brightly that it is incredibly hard to concentrate, especially when something trashy, energized, and dark is what you’re looking for when you are trying to stay awake. In fact reverse the order of my film schedule for this Friday night, and I think I might have enjoyed both better.
Nonetheless, this documentary is an interesting character study of a eccentric fellow who was savagely beaten and suffered brain damage. Already an eccentric alcoholic, the injury caused him to develop a form of art therapy where he built a model World War II - era European town in his backyard, with dolls and figurines designed to represent real people in his life. There's nothing much beyond an interesting window into mental illness, and I think without something broader or even weirder it wasn't as engaging as I thought it would be.
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