BEST PICTURE NOMINEE: Extremely Loud and Incredibly Close

Extremely Loud and Incredibly Close
Directed by: Stephen Daldry
Written by: Eric Roth (screenplay), Jonathan Safran Foer (book)
Starring: Thomas Horn, Tom Hanks, Sandra Bullock and Max von Sydow

The opening image of Extremely Loud and Incredibly Close is of a man falling to his death, with papers behind him that fade into the title; its closing image is of a boy swinging upward on a swing, triumphant.  It freezes on this image, asking the audience to pause and share in that triumph.  This is hard to do for many reasons, but mostly because that man who was falling to his death wasn’t doing so because he wanted to.  He is falling from the Twin Towers, and it is Septermber 11th, as the movie and its director, Stephen Daldry, will remind you of several times.

Oskar (Thomas Horn), the troubled boy at the film’s center, torments himself endlessly with the messages his father (Tom Hanks) left on their answering machine while he was trapped in the World Trade Center on what Oskar calls “The Worst Day.”  After finally working up the courage to enter his father’s room, he searches the top shelf, knocking over a blue vase in the process.  Inside that vase is a key whose mysteries occupy the remainder of the narrative.

Continue reading

REVIEW: Albert Nobbs

Albert Nobbs
Directed by: Rodrigo García
Written by: Glenn Close, Jon Banville and Gabriella Prekop (screenplay), George Moore (short story)                                                                                                                Starring: Glenn Close, Janet McTeer, Mia Wasikowska and Aaron Johnson

 

Albert Nobbs is a 10-year passion project for Glenn Close.  Not only does she star in the title role, but she co-wrote the screenplay and penned the lyrics for the end credits song “Lay Your Head Down.”  It is the story of a woman in Ireland who disguises herself as a man to work as a butler in a swank hotel for the upper class.  At least that is the story on the surface of it all.

The movie progresses Albert’s character in surprising ways, but in the end it simply comes to the conclusion that the answer is ultimately out of reach.  Close plays Albert with a deepened voice that shields a vulnerable core.  When her true identity is discovered by the hotel’s hired painter Hubert (Janet McTeer) when they bunk together, Albert nearly unravels.  All the careful planning- the money saved beneath floorboards, the meticulously designed appearance, the perfect job performance- seems like it will collapse in the melodramatic fashion that is typical of Oscar-nominated performances.

Continue reading

REVIEW: Shame

Shame
Directed by: Steve McQueen
Written by: Steven McQueen and Abi Morgan
Starring: Michael Fassbender, Carey Mulligan

After their much-revered 2008 film Hunger, artist-turned-filmmaker Steve McQueen teams up again with rising star Michael Fassbender for an even more daring film. Their latest, Shame, exposes a damaged sibling relationship — plagued by addiction and humiliation — in a revealing, sexually graphic yet restrained fashion that leaves their characters and audience stripped with nowhere to hide.

Shame focuses mostly on Brandon, a seemingly successful but empty man whose addiction to porn, masturbation, one-night stands, escorts and voyeurism leaves him lifeless and unsatisfied. Living alone in his sterile Manhattan flat, Brandon lives a claustrophobic routine. He wakes up exhausted and naked in a rumpled bed, staring off as if he weren’t alive and remains terse and to himself throughout the day. He has a good job doing something we never quite figure out and has very little to say to anyone. It doesn’t take long for us to figure out why. Continue reading

Oscar Nomination Predictions 2012

Best Picture: While The Artist is this year’s clear frontrunner with big wins at the Golden Globes and Producer’s Guild Awards, The Descendants and The Help are close on its heals. If this were a year with five nominations Midnight in Paris and War Horse would round the pack. But this isn’t a five-film year, nor is it a ten. Rather than explain the complicated, new system, just note that there could as many ten or as few as five films nominated pending on the number of votes a film receives. The totally will likely be around seven or eight with the sheer number of worthy-contenders. Odds favor darker dramas (like our pick for best film of the year, The Tree of Life) over an already largely comedic selection of sure-bets. Continue reading

REVIEW: Haywire

Haywire
Directed by: Steven Soderbergh
Written by: Lem Dobbs (screenplay)
Starring: Gina Carano, Ewan McGregor, Michael Fassbender and Michael Douglas

Like a virus that won’t go away, Mallory (Gina Carano) jumps around the globe, slowing down or killing anything that gets in her path.  That is largely where the narrative similarities between her story and the one from director Steven Soderbergh’s last film, Contagion, end though.

Haywire is curious when placed with the rest of his catalog in that it focuses on a single individual but also contains a large ensemble cast.  Usually his films are one (Erin Brockovich) or the other (Traffic).  At the center of this semi-departure is MMA fighter Gina Carano, who Soderbergh saw fighting on TV and decided to build a movie around.  Carano’s ferociously physical performance as Mallory is by far the movie’s greatest asset.  Soderbergh films most of the action sequences in confined areas, letting her utilize the environment in astonishing and brutal ways.

Continue reading

REVIEW: The Artist

The Artist
Directed by: Michel Hazanavicius
Written by: Michel Hazanavicius
Starring: Jean Dujardin, Berenice Bejo, Uggie and John Goodman

In an era of cinema where films like Avatar and Mission Impossible: Ghost Protocol are breaking sensory limitations, The Artist provides audiences a different set of sensory challenges, in particularly, the absence or minimization of them.

For those who are unfamiliar with the title that is sweeping award’s season off its feet — it won Best Musical or Comedy at the Golden Globes earlier this week and is a Best Picture frontrunner with countless BAFTA and other guild nominations — The Artist is a nostalgic, black-and-white Hollywood throwback to the likes of Singing in the Rain, A Star is Born, Sunset Boulevard and other classic Hollywood bourgeoisie films. Oh, and if you haven’t heard, it’s a silent film.

Continue reading

12 Movies to Watch For in 2012

The Dark Knight Rises (July 20)- Ever since the release of the new trailer, anticipation for Christopher Nolan’s final Batman film has is at an all-time high.  2008’s The Dark Knight left a lasting impression with the help of the late Heath Ledger’s iconic portrayal of The Joker, but it was also a masterpiece of big studio filmmaking.  Christian Bale’s Batman is up against Tom Hardy’s Bane in this installment, though uncertainty still surrounds the allegiance of Anne Hathaway’s Selina Kyle.  If Nolan comes anywhere close to where he did with the last two films, this will be a phenomenal success on both a financial and artistic level.

The Master (TBA)– While there are a lot of big budget films coming out this year with a lot of potential, Paul Thomas Anderson’s newest film has more potential than them all.  There Will Be Blood was our pick for the best film of the 2000s, and rumors that the film faced production problems because it attacks Scientology only make the hype greater.  Though the Behind the Scenes photos that have been released feature only extras, they give a feel for the vintage aesthetic Anderson is going for by shooting on 65mm film.  With Philip Seymour Hoffman and Joaquin Phoenix in the main roles, this film seems preordained to triumph.

Continue reading

REVIEW: The Iron Lady

The Iron Lady
Directed by: Phyllida Lloyd
Written by: Abi Morgan (screenplay)
Starring: Meryl Streep, Jim Broadbent, Alexandra Roach and Iain Glen

It’s no surprise at all that Meryl Streep’s portrayal of Margaret Thatcher is amazingly conceived and executed, worthy of any acting trophy that exists.  Everything from the posture to the voice and especially those trademark darting eyes are in full force in a movie that unfortunately fails to capture the true gravity of its subject.

Phyllida Lloyd, whose credentials include the much-maligned screen adaptation of Mamma Mia!, brings a typical biopic aesthetic to The Iron Lady.  Every character fits in its appropriate place and blends in with the environment unless they aren’t supposed to.  Abi Morgan’s screenplay, the biggest thing to blame for this film’s mediocrity, often extenuates Thatcher’s struggle to be taken seriously as a female politician.  Everything else is glossed over.

Continue reading

REVIEW: Weekend

Weekend
Directed by: Andrew Haigh
Written by: Andrew Haigh (screenplay)
Starring: Tom Cullen and Chris New

Weekend is a film that many have used to herald the honesty of independent cinema; a film tackling the subject of homosexuality where the characters are no longer grappling with that identity, but arguing about it.  Andrew Haigh’s debut feature is an incessantly political work about being gay in contemporary England whose dueling moralities surface through Russell (Tom Cullen) and Glen (Guy New).

Haigh begins and ends his feature with Russell, who is seen going over to hang out with his friends at a dinner party before going to a gay club.  That dinner scene is important in that it reveals absolutely nothing about Russell’s sexuality.  The camerawork is deliberately grungy, evoking a sense of documentary-like realism in that dinner scene and many of the ones that follow.  On a subway ride, Russell and Glen are filmed conversing as passengers bob and weave in front of the frame while the train hurtles down the tracks.

Continue reading

REVIEW: Tinker Tailor Soldier Spy

Tinker Tailor Soldier Spy
Directed by: Tomas Alfredson
Written by: Bridget O’Connor & Peter Straughan (screenplay), John le Carré (novel)
Starring: Gary Oldman, Tom Hardy, Colin Firth and John Hurt

If you’re not prepared to donate every ounce of your attention to this film, then do not bother watching it.  Tomas Alfredson’s adaptation of Tinker Tailor Soldier Spy is one of the twistiest films to come along in years.

Like he did in adapting the vampire thriller Let the Right One In, though, he takes those narrative thrills and restrains them within his deliberately arranged frames until the tension boils over.  There is only one “action” sequence in Tinker Tailor Soldier Spy, and it’s the rather clumsily constructed assassination of a spy (Mark Strong) sent to Hungary to find out the identity of a mole within MI6 (the British equivalent of the CIA).

Continue reading