To the Wonder Directed by: Terrence Malick Written by: Terrence Malick (screenplay) Starring: Ben Affleck, Olga Kurylenko, Rachel McAdams and Javier Bardem
To the Wonder is the quickest turn-around of the legendary auteur Terrence Malick’s career, coming out a little less than two years after 2011’s The Tree of Life. For a director who famously took 20 years after 1978’s Days of Heaven to resurface, that is quite a 180. This is also significant when examining this latest film because, though it contains moments as transcendent and beautiful as anything he’s ever done, those moments are trapped inside many less significant ones. It doesn’t feel fully formed, and though it’s by no means lazy or even bad, several parts feel out of place and sloppy.
Malick’s camera, aided by the infinitely gifted cinematographer Emmanuel Lubezki, washes over any landscape with lightness and grace, tilting, panning and maneuvering around endlessly twirling and writhing bodies. He speaks a language of pure cinema, enhancing each gesture and glance with a swell of music and a matching camera movement, and then using his trademark narration to an almost entirely expressionistic effect.
Unlike Matt (whose predictions can be found here), I take the Oscars a little seriously. My numbers are usually pretty good too, but I’ve yet to win any big predictions competitions and that bums me out just a little. That being said, this year’s race looks pretty flat and uncompetitive, with most of the nominees and frontrunners decided months ago. There are, however, a few nominees that could steal the scene from The Artist, which is expected to sweep.
Nominees: War Horse, The Tree of Life, Moneyball, The Artist, Hugo, Midnight in Paris, The Descendants, Extremely Loud and Incredibly Close, The Help
Will Win: The Artist. It’s the frontrunner because it’s an easy pick for Hollywood. While most of the other best picture nominees have a few deterrers, The Artist is unanimously adored at least to some fashion. The nostalgia crowd pleaser also happens to have strong technical components AND a few acting nominations, which sets it apart from other possible winners like Hugo, The Help and The Descendants that only fare well with one of the two. Don’t be too surprised if The Help crashes the party with an upset. Continue reading →
The Tree of Life Directed by: Terrence Malick Written by: Terrence Malick Starring: Brad Pitt, Jessica Chastain, Hunter McCracken, and Sean Penn
You always look at nature a little differently after you see a Terrence Malick film. This is a man that you suspect has spent a great deal of time wandering through its various forms, envisioning ways to capture its essence. Of course, all of us outside his friends, family and colleagues can ever do is suspect. Malick creates his films, and then stays out of the spotlight.
The Tree of Life, his latest meditation on nature by way of the Big Bang, won the Palme D’or at the Cannes Film Festival this year, and the one who was there promoting it was Brad Pitt. In a way this is fitting since he and Sean Penn are all the marketing team behind this movie will have to promote it with. It’s likely that countless Americans will attend this film to see Pitt and then be outraged.
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 →
1. Kirsten Dunst– Melancholia– In Lars von Trier’s apocalyptic new film, Dunst creates one of cinema’s most fully realized portraits of numbing depression. In all of her performances, Dunst has shown a skill sometimes greater than the films she is in. Here, she takes the role of Justine, a woman who self-destructs on her wedding night and takes shelter with her sister as the planet Melancholia goes on a collision course with Earth. Key Scene: In the deepest part of her depression, Justine even needs help getting down to the dinner table. Her sister Claire (Charlotte Gainsbourg) made meatloaf, her favorite dish. When Justine tastes it, her face crumbles, and she says it tastes like ash. That’s all that will be left of the planet in a couple days, and she can’t wait.
By looking at the title of this post and choosing to read on, you are, at the very least, open to the idea of a weird movie. This is an important step, I think. “Weird” is an abstract concept, one that for the purposes of this post means where what you’re seeing collides with your perception of reality. Think of the final minutes of 2001: A Spacey Odyssey or, more recently, the beginning and the end of The Tree of Life.
What makes us associate the weirdness with those examples more than, say, traditional Hollywood comedy? Comedy is rooted in expectation. When a situation defies our expectation of what we think should happen, we laugh. You don’t expect Brad Pitt to bite the bullet in Burn After Reading so quickly and brutally, so when he does it comes off as comical, but him walking on a beach with other lost souls in Tree of Life is just out there.
The Most Ambitious: The Tree of Life– The goal of Terrence Malick’s Tree of Life is no less than to funnel the creation of the universe through a child. That that child and his family closely resembles the director’s own makes this his most personal film to date as well. With some of the most stunning cinematography you’ll ever see in a movie, Malick captures something elemental in this movie. You may not have liked it, but you’ll never forget it.
The Most Laughs: Bridesmaids–With one of the best comedic ensembles in recent memory, writers Kristen Wiig and Annie Mumalo paired up with director Paul Feig and producer Judd Apatow to create this hilarious, raunchy comedy about the bond among women. Bridesmaids proves that an ensemble of females can spit vomit and shit just as well as men, which is something Hollywood needed to be force-fed.