Oldies:
3/1 - I'll be Right Here: My Final Post
My Most Anticipated Fall Films
Summer 10,
Winter 09,
Summer 09,
Winter 08,
Summer 08,
Winter 07,
Summer 07,
Winter 06,
Summer 06
Note: for those who need to be reminded why I am leaving my website, see my original press release here.
When I started thinking about how best to say goodbye to my fans, I started thinking about what goodbye scene from an Oscar-winning film would best exemplify what it is I want to say. I thought I could go with the "My Heart Will Go On" way from Titanic where my fans survive and mourn as they watch my stiff frozen corpse sink to the bottom of the ocean. I thought I could do the There Will be Blood way where I vent all my anger and vengeance by drinking my audience's milkshake before beating them to death with a bowling pin and uttering my simplistic departing words, "I'm finished!" I could have said things like, "Here's looking at you kid" or "I wish I knew how to quit you" or "This is Apollo 13, signing off." But then I realized no cinematic scene exemplifies my feelings of this moment better than the iconic farewell scene that concludes the best film of the 1980's: E.T. The Extra Terrestrial. So now if you'll let me, I'd like to mimic my goodbye words to my fans on those of E.T. to Elliott.
I believe E.T. did three things for Elliott. The first is that he granted him wisdom, so I would like to share some final wisdom with my fans. Of course the whole purpose of my hosting of Awards Breach for these last seven years has been to bring you the wisdom and skill to make educated Oscar predictions yourselves. Perhaps I have been able to provide helpful tidbits like "Most is the best" and "Flashiest wins the race." But all of these tidbits must now stand in the shadow of this one great wisdom that you should know. And that wisdom is that there is no such thing as Oscar-predicting skill. In the end the Oscars are simply a guessing game, and no matter how certain you feel about something the fact of the matter is that you're just shooting in the dark. If it were a skill, then my ever expanding knowledge of the works and tricks would have granted me increased prediction scores over the years, and yet they haven't. And yet I have never been able to surpass my best score of 2007 when I was the only person with a website to get all top eight categories correct (don't believe me? See here). I'm sure that in '07 I was touting my perfect score as proof of my skill. But I now admit that odds are more likely that I just got lucky that year. All my years of trying to crack the code have turned me instead to one noble truth: that there is no code and there never will be. So what I want you to remember is that researching can help you make educated guesses on the Oscars, but in the end they remain guesses and results frequently go a certain way that cannot be explained with any rational Oscar science. If ever you looked at me in amazement for my prediction ability, perhaps your emotions were inappropriate for I may have only been lucky. And next time someone else gets an unlikely correct prediction, you can attribute their glory merely to chance. After ten years of Oscar predicting and seven years of website hosting, the idea that all Oscar races are always without foresight is the most valuable lesson that I can pass along to you my fans.
The next thing E.T. does for Elliott is connect in a loving friendship, as best exemplified through a long tender embrace in the alien's skinny loving arms. So I would like to take a moment and extend my long skinny arms around my fans and embrace you. For the last seven years your emails that ranged from complimentary to inquisitive to critical have always been a blessing to me for knowing that people are out there listening to what I have to say. The messages I have received from Oscar nominees and winners themselves have anointed me with the satisfaction of being connected on a personal basis with some of Hollywood's most talented. And the constant viewership that have raised my home page to within striking distance of 500,000 hits have shown me that my message is one worth coming back to all year round. The dedication of my fans has kept me alive and active and wanting to provide more. And so I embrace you now and thank you for the support and generosity that you have shown to me and my mindless Oscar thoughts.
Finally, E.T. gives Elliott hope for his future by shining his god-like finger of life and saying those empowering and uplifting words, "I'll be right here." And I would like my fans to know that I will also be here. Firstly this is because starting next week this website will be turned over to my successor Zak with whom I have the upmost confidence will bring the same independent analysis and thoughtful interpretation of the awards season that I have attempted to bring. Therefore you will continue to have an oracle of the Oscars here to guide you on your path down the Oscar red carpet. Furthermore, every year as you sit down to watch the Oscars, know that in my own home I will be watching them with you, cheering, laughing and crying with you. I'll always be there enjoying the festivities of the season in your heart, and you'll be in mine.
So if you'll do me one last favor and watch the attached video (the clarity improves after a few seconds) and when you see that wise wide-eyed visitor from regions unknown grant an everlasting hug and give his last words of comfort, I hope you will think of me. Now as I waddle up the metal ramp, watching as the helical port doors close around my heart, and blast off riding on the wave of triumphant John Williams music, heading for my long lost home among the stars I leave you with this. The Oscars will always go one way or another beyond your control or foresight, but the joy and memories of it are what you must make for yourself.
Farewell my friends, and thank you.
-Brinton
P.S. Those who wish to share some parting words with me can always reach me at brinton.c@gmail.com
Review: Tron Legacy
The last great action film of 2010 serves both as an exciting bit of hardcore adventure as well as a glimpse into the technologies of modern filmmaking.
I came in not expecting much of this film due to the lukewarm reviews. But I was blown away by what I love most: fast and creative high-stakes action sequences. The challenge was the fact that it's often easier to impress when the audience knows that real actors, vehicles, crashes and explosions are used, like the exciting fight scenes in Inception, or any scene in any Michael Bay film. Sometimes when an action scene is all CGI and there's no stunt-work, it seems too easy to do to make it exciting, like the Spider-Man or Iron Man films. But Tron managed to break that all-CGI rule by making its action sequences fast, well-choreographed, and shot from just the right angles. An arena speed-bike game that mimics the original Tron video game is a perfect example of an all-CGI action sequence being exciting despite the lack of stunts.
Furthermore, I found the story to be well-told, possibly thanks to the input from Pixar. Though it seems to take a lot of ideas from The Matrix, it never makes itself more complicated than it needs to be while still making relatively good sense. I'm glad that instead of making a sequel, they did more of a reboot that could still be called a sequel.
And then there's the technical aspects, several of which the Academy sadly passed over such as the sound mix, the makeup, the Daft Punk score, and particularly the visual effects. Though I admit the "young Jeff Bridges" effect looked slightly unreal in some close-up shots for reasons I can't quite put my finger on, I admit that it's one of the most difficult effects to accomplish realistically and was impressive nonetheless as much as the created neon world. And I should also note that this makes the fourth film I've watched in 3D, but only the second one where I felt the extra $3 was worth it (after Avatar). This proves my theory. In order for 3D to be worth it, the film must be live-action, shot with 3D cameras, and contain sequences of fast high-flying, dynamic camera action, like the mid-air battle sequences in Avatar, or the speed jet fight sequence in Tron.
If it's still playing at a theater near you, Tron: Legacy is definitely one of those films where you should take advantage of the giant screen, the burgeoning sound system, and the sense-heightening 3D glasses. I hope Jeff Bridges can stay as young as he looks in the film so they can make more of these.
Stars: 3.5 (out of 4)
Oscar Nominations: Sound Editing
Brief Review: Blue Valentine
The film fits into the description of a lot of independent films like it: great on the performances, but ultimately too real and depressing.
It's pretty easy to compare this to Revolutionary Road since they are both films about a couple who fell in love then go through the horrors of a marriage collapse, anchored by two strong lead performances. However, this film doesn't have the development, the fascinating time period, or the memorable side-characters as Road does, therefore it's not quite as good. But since it's a showcase for the talented Gosling and Williams and has some clever writing, it could be worth a gander if you're interested.
Stars: 1.5 (out of 4)
Oscar Nominations: Actress Michelle Williams
Brief Review: I Am Love
Speculators who wonder why I am choosing to retire from the awards prediction business need look no further than a five minute glimpse of this film.
There's really no admirable aspect of this film. Tilda Swinton was far from her best standard of acting. And even though I saw this film because of its one Oscar nomination for costumes, I don't even see how it earned that. The costumes are all modern, simple, and uncreative. How the heck does this J.C. Penny wear deserve to be Oscar nominated? The only reason why I'm not giving it zero stars is because I didn't fall asleep, but just barely. You know, I like to think that I have a greater appreciation for alternative independent films than the greater public. But in the end, I still want to come out with some sort of positive reaction. There was nothing positive about how I felt, and I even though I watched it for free through Netflix streaming, I felt robbed.
Stars: 0.5 (out of 4)
Oscar Nominations: Costumes
That's that then. The final year in which I would wake up with suspenseful emotions over who the Oscar nominees will be has come and past. And every
year I get an overall feeling of either relief or disappointment. This year I'm going with disappointment driven almost entirely by one significant crime against sensibility. That crime is the fact that once again the Academy refuses to give any sort of recognition to who may very well be the greatest filmmaker of the modern age: Christopher Nolan. Two years ago, like many others, I was appalled that after every precursor indicated that The Dark Knight would be nominated for picture, screenplay and director, all were horribly shutout. This makes Nolan's directing loss this year all the more bitter. You may try and comfort me by pointing out that Inception still got a screenplay nomination, but I think it hardly matters since Nolan was nominated for screenplay before for Memento. Or you could try pointing out Nolan's first best picture nomination for Inception, but like all picture nominees this year, I think there should be an asterisk next to that. Nolan's director loss combined with the fact that Inception was also horribly snubbed for editing indicate that were the traditional method of five nominees still in play, Inception would NOT be nominated for best picture (the top five would clearly be Social Network, King's Speech, Fighter, Black Swan and True Grit, or maybe even 127 Hours). Therefore I submit the notion that since Nolan was snubbed for director, and the film was not technically nominated for best picture, the Academy has proven once again that it is full of elitist old coots who don't know what brilliant modern filmmaking is. Forshame!
Regarding how the Academy's social experiment of 10 best picture nominees worked out this year, we see it technically works but at a cost. The purpose of the expansion was to allow more "non-traditional" films to be nominated for picture, and last year we got three or four of them, one of which was certainly in the top five (Avatar). But this year it's proven less of a good idea as only two non-traditional films (Inception and Toy Story 3) get nominated, and certainly neither would have been in the top five. The cost for allowing these audience-friendly films to be nominated is that three low-grossing audience-hating films (127 Hours, The Kids Are All Right, Winter's Bone) must be nominated too. So I think the Academy should take a good look to see if their ten nominee formula is really worth it, especially since in 2011 there may be a Pixar film but there's no Nolan/Cameron/Jackson blockbuster to help build up the non-traditional nominee pack.
Moving along then, I'd say I did pretty well in the best picture race accurately predicting 10/10. Winter's Bone made a strong show getting four noms including one for John Hawkes I didn't see coming. While The Town ended up with a single nom for Jeremy Renner. I'm disappointed that my prediction of Hailee Steinfeld going lead didn't come true in light of how confident I felt, especially since this counts as two incorrect answers for me. But I'm glad she got nominated anyways. Though I was hoping to see Mila Kunis' name beside her, but at least I'm know Kunis' exposure will help her get all kinds of offers now. In fact Black Swan somewhat underperformed missing noms for Kunis, screenplay, costumes and sound. But King's Speech had no problem picking up the pieces and making it to an unprecedented 12 nominations, more than any other. This combined with the film's PGA win make it a real threat to Social Network for the best picture win.
I guess I didn't do too well predicting the acting races since I failed to see Javier Bardem, John Hawkes and Michelle Williams. But I think I made up for it with some bold tech category picks like accurately calling The Illusionist for animated film. I am disappointed to see Andrew Garfield, Mila Kunis, the makeup of Alice in Wonderland and the screenplay for Black Swan left off the lists. And perhaps the most embarrassing category is visual effects where anyone is guaranteed at least 3/5 correct, and I got just that: only 3/5. I don't think anyone predicted Tron getting snubbed in that category. But I am proud to see several deserving performers get their first nominations like Darron Aronofsky, David O'Russell, James Franco, Christian Bale, Mark Ruffalo, Aaron Sorkin and John Powell.
So overall I accurately predicted 92 of the 120 nominees, which comes out to 76.7%. That's at least my best score of the
last four years, and possibly my best ever. Despite all the disappointment, I'm glad that on my last year of professional
Oscar predicting, I could at least do reasonably well at it.
Biggest Surprise Inclusions
Winter's Bone for picture
Joel and Ethan Coen for director
Javier Bardem for actor
Michelle Williams for actress
John Hawkes for supporting actor
Another Year for original screenplay
The Illusionist for animated film
Harry Potter for art direction
I Am Love for costumes
Hereafter for visual effects
Salt for sound mixing
Unstoppable for sound editing
Country Strong for song
Biggest Snubs
The Town for picture
Christopher Nolan for director!!!!
Robert Duvall for actor
Andrew Garfield for supporting actor
Mila Kunis for supporting actress
Black Swan for original screenplay
Waiting for Superman for documentary
Black Swan for costumes
Inception for editing
Alice in Wonderland for makeup
Tron Legacy for visual effects
Black Swan for sound mixing
Burlesque for any of its songs
Unlikely Things I Got Right
Winter's Bone over The Town for picture
Jacki Weaver nominated
Shutter Island snubbed for cinematography
Barney's Version for makeup
Shutter Island snubbed for sound mixing
The Illusionist over Tangled for animated film
Exit Through the Gift Shop instead of Client 9 for documentary
Wish 143 for live short
Records/Trends/Fun Facts
-Christopher Nolan might be the first director with three DGA nominations and no directing Oscar nomination (what does that tell you?)
-Toy Story 3 becomes only the third animated film nominated for best picture after Beauty and the Beast and Up
-Toy Story 3 also becomes only the third threequel nominated for best picture after The Godfather: Part III and The Lord of the Rings: The Return of the King
-Joel and Ethan Coen now become the only pair of directors nominated together more than once
-Scott Rudin got two nominations for producing two of the best picture nominees (Social Network and True Grit)
-James Franco isn't the first nominee to also host the Oscars in the same year. The last person was Michael Caine who hosted the year he was nominated for Sleuth
-Jeff Bridges increases his Oscar nomination total to a rare six
-This is the first time since 1989 that all three makeup nominees got no other nominations
-Banksy joins Cher and Bono as one of the few Oscar nominees with a single name
-At 14 years old (13 when she was filming), Hailee Steinfeld becomes one of the youngest Oscar nominees ever
-Mike Leigh now has seven Oscar nominations, including five for screenplay, and has yet to win
-Colleen Atwood and Sandy Powell continue being champions of the costume industry by both receiving their ninth nominations today
-Trent Reznor and Atticus Ross are a rare case of two composers nominated for one film, something that was ineligible just a couple years ago
-Greg Russell raises his total number of sound mixing nominations to 14, still without a win
-With 8 films getting 5 or more nominations, and 4 films getting 8 or more, this is one of the most clustered sets of nominees in recent years
Nomination Totals
The King's Speech - 12
True Grit - 10
The Social Network - 8
Inception - 8
The Fighter - 7
127 Hours - 6
Black Swan - 5
Toy Story 3 - 5
The Kids Are All Right - 4
Winter's Bone - 4
Alice in Wonderland - 3
Biutiful - 2
How to Train Your Dragon - 2
Harry Potter and the Deathly Hollows - 2
Rabbit Hole - 1
Blue Valentine - 1
The Town - 1
Animal Kingdom - 1
Another Year - 1
The Illusionist - 1
I Am Love - 1
The Tempest - 1
Barney's Version - 1
The Way Back - 1
The Wolfman - 1
Hereafter - 1
Salt - 1
Tron Legacy - 1
Unstoppable - 1
Country Strong - 1
Tangled - 1
Review: Black Swan
The last major best picture contender I had yet to see this year has all the power and intensity of its competitors 127 Hours, Inception, and The Town and manages to do it while being about the most mild of subjects: ballet.
I said this with 127 Hours and I'll say it again with this film. The best word to describe it is "intense." Particularly in the last twenty minutes, Aronofsky does a brilliant job in making every shot suspenseful and misleading. He does what Ron Howard did in A Beautiful Mind by making the audience question everything they see as the character drifts deeper into a delusional madness. Some of this is achieved through painful body self-mutilation. I didn't clench my teeth as much as I did during 127 Hours, but watching Nina pull a bloody hangnail all the way down the length of her finger comes pretty close.
As far as performances go, Portman really is the star. Aside from performing all the challenging ballet moves, she gets down into her character's nervous anxiety and ultimate schizophrenia. Admirable performances also go to Mila Kunis' manipulative frenemy, Barbara Hershey's failed dream mother, and Winona Ryder's self-loathing has-been dancer. But I also give big props to the screenplay. It's a fascinating story to follow in making the parallels with Swan Lake and seeing the white swan (Nina) and the black swan (Lily) both competing and deceiving in order to get the prince (the leading role).
What I wonder most is if this film will be an eye-opener for anyone who decides to enter the dance profession. Though I'm sure not every ballerina really goes this crazy, I can see how perfectionism can be a dangerous drug. Which I guess is why the film feels like a crazy but thrilling drug trip.
Stars: 3 (out of 4)
Oscar Contention: Picture, Director, Actress Natalie Portman, Supporting Actor Vincent Cassel, Supproting Actress Mila Kunis, Supproting Actress Barbara Hershey, Original Screenplay, Cinematography, Art Direction, Editing, Costumes, Makeup, Sound
Review: True Grit
The latest annual picture from Joel and Ethan Coen fits their style of blabby dialogue and smart scenes, but is also plagued by some of the problems that they can't seem to let go of.
For the most part, one of the things I like most about the Coen Brothers is their complete lack of a footprint. You would have no idea that the guys behind No Country for Old Men also did The Big Lebowski. However there are a couple traits I noticed. First, they're not afraid of showing the more gratuitous images in violent scenes. And second, the Coens continue to pride themselves as masters of the sudden unresolved unexpected ending. They did it with No Country, Burn After Reading, A Serious Man, and now this. Personally, I'm growing weary of it. Without giving away the ending, let's just say that even though the story was about finished being told, the wrapping up process felt very rushed and it feels like we weren't given full closure. I was prepared to give the film a slightly higher rating before the last five minutes.
Up until the ending however, the film made for a pretty good western. All technical aspects felt authentic. Bridges gives a great performance, not in the showy emotional kind, but for the creating an original character kind (also known as the Jack Sparrow kind). Damon and Steinfeld do respectably. But I felt that strong gritty performances from Josh Brolin and Barry Pepper are being a little overlooked thanks to their rugged demeanors and thick accents. I should point out however that the accents are a bit of a problem sometimes. Bridges has a lot of lines and I couldn't tell what he was saying half the time.
So True Grit feels like it does justice to whatever source material it's from. It feels authentic, its performances are solid, and no risk is avoided. Though I still think that Joel and Ethan should lead some focus groups in finding out what the consistent flaws in their films are. They might learn something and make their next film better.
Stars: 2.5 (out of 4)
Oscar Contention: Picture, Director, Actor Jeff Bridges, Supporting Actor Matt Damon, Supporting Actor Josh Brolin, Supporting Actress Hailee Steinfeld, Adapted Screenplay, Cinematography, Art Direction, Editing, Costumes, Makeup, Sound, Sound Editing
Review: The King's Speech
The story about how King George VI overcame his speech impediment boasts some admirable aspects and performances, but feels too much like a minor chapter in the long run of English monarchy films.
I think it's fair to say that the film's greatest strength is Colin Firth's uneasy and encompassing performance. I've been skeptical of Firth's range and acting ability for years, including through his undeserving nomination last year for A Single Man. But this performance turns my mind around about him. He does a great job combining the stuttering, the nasal voice, and the nervous pent-up temper of the late King. As for Rush and Bonham-Carter, though being two of my favorite actors, I was somewhat underwhelmed by them in consideration of their best work before. I think they both do better with their frequent darker/villainous roles.
Furthermore, the film serves as a nice little slice of history. George VI doesn't have the same amount of film coverage as Elizabeth I, or Henry VIII or Victoria. It's just often a treat to hear about the life of a public figure not so often heard about. But that very strength is also one of the film's weaknesses. The reason for the lack of film coverage of George VI is probably due to his relatively short reign and his somewhat lack of distinctive action. That is why the film focuses on his speech impediment, because it's possibly the only notable thing about his reign. But in doing so, they seem to overdramatize it and make it more important than it really is. I understand the importance of a public figure being able to speak well, but it is hardly a life or death matter, and yet the film tried to sell it off as one. In doing this, the film tries to make itself more important than it really is, and in doing so tires us all.
Nonetheless, the film is a well made piece of work. European period drama is a genre that is often difficult to keep me awake, but The King's Speech did a decent job through its chemistry between actors, Firth's fine work, and the film's direction that makes the audience feel the same pain and embarrassment. Furthermore, I'm just glad to have left this film with a greater appreciation for my own diction.
Stars: 2.5 (out of 4)
Oscar Contention: Picture, Director, Actor Colin Firth, Supporting Actor Geoffrey Rush, Supporting Actress Helena Bonham-Carter, Original Screenplay, Cinematography, Art Direction, Editing, Costumes, Score
Review: The Fighter
Those who have never seen a boxing movie will feel the grit, power and redemption on film. Everyone else will just feel like deja vu.
I'd like to point out that this isn't a bad film. It's quite good. It just has the rotten luck of being next in a long line of Oscar-hungry inspirational boxing movies that have grown increasingly repetitive. I bet I would have given the film an extra half a star for every decade earlier that it had come out. Despite being based on a true story, it feels like it's borrowed everything. The inner-city culture and fighting for the new poor girl idea is taken from Rocky. The tacky relationship with the brother/trainer is taken from Raging Bull. The addict trainer and final title fight scene is taken from Ali. The unbalanced relationship with the mother is taken from Million Dollar Baby. And even the living in poverty is taken from Cinderella Man. Just because it's original doesn't mean it's new.
But don't get me wrong. The film is still strong on its own, mostly thanks to the performances. Christian Bale naturally stands out the most. He nails the crack addiction, the boxing, the mannerisms, and even the accent. He'll likely follow the line of Young, Pesci, Freeman, and Giamatti and get an Oscar nom for playing the ringman/trainer. Guess it's just a typical Oscar role. Finding the best supporting actress in the film is a tough call between Adams and Leo since they both nailed the accent and the inner city culture. But I'll go with Leo for her controlling and dominant mother type of performance. As for Wahlberg, it seems like he spent too much time training for the boxing scenes and not enough time rehearsing for the acting scenes. Plus it's strange how Wahlberg is the only cast member actually from Boston, and yet everyone else does the accent better than he does.
So I guess I can see how the critics and other precursors are swooning over this film, but maybe it's because they all have amnesia. Ultimately, this film should probably feel a lot like another famous Bostonian Ted Kennedy: no matter how good you are, you can't be as good as your older brothers that came before.
Stars: 2.5 (out of 4)
Oscar Contention: Picture, Director, Actor Mark Wahlberg, Supporting Actor Christian Bale, Supporting Actress Amy Adams, Supporting Actress Melissa Leo, Original Screenplay, Cinematography, Editing
Brief Review: Winter's Bone
I keep on dreaming of the time three months from now when I'm retired from web hosting and I won't ever have to watch a dull depressing independent film like this again.
Ultimately I hated this film for the same reason I hate lots of independent films, because it's just so depressing. The main character just goes around getting the cold shoulder from one person after another, and one bad thing happening after the other. There is not a single light or positive moment. And to think they wonder why mainstream audiences never go see films like this. Plus even what are supposed to be the film's strong points aren't that great either. The screenplay is simple and thrown together. And Jennifer Lawrence's performance is decent, but any other actress could have done just as well by showing up on set sleep-deprived (though I really hate to criticize such a young newcomer). So with nothing worth enjoying nor anything that's even thought-provoking, I say that this film should be buried in the same middle of nowhere in which it takes place.
Stars: 0.5 (out of 4)
Oscar Contention: Picture, Director, Actress Jennifer Lawrence, Supporting Actor John Hawkes, Adapted Screenplay
Review: 127 Hours
Having been born and raised in Utah, and having hiked the rocky formations of Arches, camped in the canyons of Bryce, and fished in the lakes of Zion, I feel a personal connection to the beautiful natural world onscreen in 127 Hours. But you don't have to be native Utahn to enjoy the intensity of the film.
Probably the film's greatest strength is the direction of Danny Boyle. You'll recognize his trademarks of quick cutting and split screen, as well as odd camera angles such as peering through Aron's water drinking straw. People are frequently comparing this film to Cast Away, but compared to Robert Zemeckis' fine effort, Danny Boyle does as much if not more with less. Unlike Ralston, Tom Hanks could move around, build stuff and had someone to talk to (albeit a volleyball), so his story is more of a physical one. Aron's is more psychological, and through flashbacks, hallucinations and premonitions, Boyle manages to make the hour at which we're simply watching a man standing still to be a nerve-wrecking ride and study.
Boyle's direction also comes down to the little details. Aron's slowly emptying water bottle makes a great symbol as his countdown to death. And the use of amplifying the smallest sounds of the surroundings makes the psychology more intense and the feeling of loneliness deeper. Plus we owe a great deal of the realism to James Franco who does a brilliant job of playing the character who goes through all psychological stages of a man who knows he's going to die within a few days.
A lot has also been said about the infamous amputation scene. I'll admit it's pretty darn graphic. Being relatively desensitized to movie violence, I was able to watch it, but I haven't clinched my teeth that hard since the climax of The Last King of Scotland. And there's one image I really wish I could get out of my head. It's the sight of Aron's piercing cry when barely touching his noodle of an exposed nerve, like a hundred decibels of bass being pounded from ten-kilowatt speakers plugged into an electric guitar when you barely pluck the string. It's one of the scenes where you can feel the pain.
Though I fall short of calling this film flawless due to its relatively simple screenplay, short runtime and little unexpected. I realize that these imperfections are necessary to maintain historical accuracy, but there are only so many true stories that can be truly great films and still be perfectly accurate (ie Apollo 13). But I don't hold it against Boyle since he managed to craft an almost unfilmable story about a man who couldn't move for five days. He turned one of the most boring-sounding setups of the year into one of the finest made films.
Stars: 3 (out of 4)
Oscar Contention: Picture, Director, Actor James Franco, Adapted Screenplay, Cinematography, Editing, Sound, Sound Editing, Score, Song
Review: The Social Network
I first setup my Facebook account in October 2004, back when it was limited to just a few of the best colleges. So I can say that I was among the first million Facebook users. Little did I know that there was so much drama going on behind the site, and that another 499 million would soon follow me in joining the social networking revolution.
I think what makes this film so unique is how it speaks to something so modern that the whole world knows about. The only other recent similar film I can think of is United 93, a film that was powerful for the same reason: people knew about it, but they didn't know the whole story behind it. Though I'm aware some details are fictionalized, based on what I've read it sounds like Aaron Sorkin made it as accurate as he could based on the information he had, even if it means risking criticism for certain portrayals, and risking having the film end abruptly without much conclusion (possibly the film's only major flaw).
At the same time the film is strong for its cast of complicated characters, which bring out strong performances from the entire cast. Andrew Garfield plays Saverin as the moral friend who's at loss for words when his Caesar is betrayed by Zuckerberg's Cassius. Justin Timberlake fills Parker with the "I'm big, out of my way!" method to business that clearly the Napster founder would have to have to do what he did. Even Armie Hammer is impressive for nailing both Winklevoss boys' frustration beneath a sophisticated mug. But Eisenberg gets the golden star for making Zuckerberg a walking sphinx. His soul is a bottomless pit. He's a modern day Charles Foster Kane. You could spend a lifetime trying to figure out what Zuckerberg really wants and come up with nothing. He's like the Joker: he has no plans, he just does things and we don't know why. Perhaps it's an act of kindness that Fincher and Sorkin gave the real-life Zuckerberg a chance to defend himself by not making clear his intentions.
Furthermore the film is a feat of great screenwriting by Sorkin who knows how to speak like any type of college student. Just the opening scene dialogue where Zuckerberg breaks up with Erica (Rooney Mara) is an accomplishment of real-life poetry. And let's not forget to mention some visual effects accomplishments that you may not have noticed... but that's the point. How do you think they could have gotten Armie Hammer to play both Winklevoss twins without superimposing his CGI face onto a body double (Josh Pence) in some shots.
So The Social Network falls short of being a masterpiece, possibly because it stayed too true to historical accuracy. But there would be bigger problems if it hadn't. But because it takes some real-world modern characters with such unique perspectives, and seeing what they accomplish when they put their minds together, the film is a testament to the power driving to success, and today's world of relationship statuses wall posts.
Stars: 3.5 (out of 4)
Oscar Contention: Picture, Director, Actor Jesse Eisenberg, Supporting Actor Andrew Garfield, Supporting Actor Justin Timberlake, Adapted Screenplay, Cinematography, Editing, Visual Effects, Sound
Review: The Town
The last several Oscar races have been all about different comebacks: Mickey Rourke, Robert Downey Jr., Jeff Bridges. I suppose Ben Affleck will have the big career comeback this year for redefining himself as a talented drama director.
I suppose the thing that gives the most credence to Affleck's newfound talent is his knowledge of cultural accuracy. He clearly knows Boston, and the film feels like all actors and lines came straight from Beantown. And it certainly helps that the whole thing was filmed on site in Boston, including the final climactic heist set at Fenway Park. Though frankly I'm tired of the stereotype from films like this and The Departed that suggests that anyone's toughness and violence level is directly proportional to the thickness of their Boston accent.
The bank heist sequences are well executed and thrilling, to the enjoyment of a heist action film. These sequences are aided by great cinematography and editing. And the film's drama is aided by great performances from the whole cast: which includes the leads like Affleck and Hall, and even brief cameos by Chris Cooper and frequently underappreciated Pete Postlethwaite. But it often amazes me most when an actor you didn't normally peg for really talented gives a scene stealing performance. In this case it was up and riser Blake Lively as the drug and sex-addicted single parent. Apparently Affleck knows how to bring out great performances in his actors, as we saw with Amy Ryan in Gone Baby Gone three years ago.
Though the film is entertaining and well-made, I wouldn't say it quite rises to the level of the best crime dramas like The Departed since it doesn't have the same twists, or unexpected occurrences. But it makes for a solid crime drama full of exciting scenes and fine performances that redefines Ben Affleck as still a decent actor, but a more talented director.
Stars: 3 (out of 4)
Oscar Contention: Picture, Director, Supporting Actor Jeremy Renner, Supporting Actress Rebecca Hall, Adapted Screenplay, Cinematography, Editing, Sound
5. 127 Hours
When Cast Away came out ten years ago, critics wondered whether a one-man show in one location for an hour and a half can sustain audience attention. It certainly did, but that method will be put to the test again this fall with two releases: Buried starring Ryan Reynolds and 127 Hours starring James Franco.
I remember a few years ago hearing about the story with which this film is based. A hiker gets his arm stuck under a boulder in the desolate canyons of Moab, Utah. After several days alone he saws off his own arm and hikes to safety. It's a remarkable true story. I look forward to it because of the great direction of Danny Boyle, and because I having been born and raised in Utah, and having hiked several of the Moab mountains, I feel a personal connection with this film.
127 Hours hits theaters November 5. Watch the theatrical trailer here.
4. The Town
Three years ago, Ben Affleck made his directorial debut with Gone Baby Gone a thrilling crime thriller that thoroughly kept me entertained. His follow-up stars himself as a Boston bank robber who falls in love with his hostage (Rebecca Hall). The film also stars Jeremy Renner as his accomplice, Jon Hamm as the FBI investigator, and Chris Cooper as his imprisoned father.
If Affleck's second go around at portraying the dark underbelly of Boston crime is as good as his first attempt, then this should be full of strong performances, tense crime drama and possibly some Oscar consideration. It could end up being this year's Departed.
The Town hits theaters September 17. Watch the theatrical trailer here.
3. True Grit
The Coen Brothers are really hit and miss with me. I love their random comedies like Big Lebowski and Burn After Reading, moderately enjoy their murder thrillers like Fargo and No Country for Old Men, but hate when they make films that I just don't understand like A Serious Man. I'm not sure which category True Grit falls under.
This time Joel and Ethan are remaking the 1969 John Wayne classic western. Jeff Bridges takes on Wayne's Oscar-winning role as the marshal helping a young girl track down her father's killer. I'm just thinking that if this is half as good as the last Coen/Bridges collaboration, then we're in for a treat.
True Grit hits theaters December 25. Watch the theatrical trailer... when it comes out.
2. Tron: Legacy
Unfortunately, this fall season doesn't have an Avatar, Sweeney Todd or even a King Kong. There's no big-budget film that I highly anticipate seeing this season. The closest thing we have is Tron: Legacy which I'll just have to hope will do okay.
Though I haven't seen the original Tron from the '80s, my understanding is that it is about a computer programmer (Jeff Bridges) who gets sucked into the computer network itself which is a world of motorcycles, darkness, and neon lights. The original didn't do too well in theaters but became something of a cult classic. If the sequel lives up to that status, then I suppose it will be worth seeing.
Tron: Legacy hits theaters December 17. Watch the theatrical trailer here.
1. The Social Network
During my freshmen year of college six years ago, I was first introduced to the concept of Facebook. At the time the website was limited to only students of a dozen or so colleges (one of which was mine). Luckily as time went on and the website expanded I resisted the temptation to get completely swept into it, and I'm not the kind of guy who tries to maximize his friend count and use it as a measure for his popularity. Though I have wondered how such a simple website became such a phenomenon.
Directed by David Fincher (Fight Club, Benjamin Button), The Social Network is essentially the story on how Facebook was founded in 2003 by Harvard student Mark Zuckerberg (up and rising talent Jesse Eisenberg). As the site grew there were problems and lawsuits, including when Zuckerberg's own best friend Eduardo Saverin (Andrew Garfield, the next Spider-Man) sued him for millions.
Of course with films like this that are not authorized by the real people and are partially fictionalized need to be taken with a grain of salt. But because it's about a subject I'm familiar with, and because there's some talented people in front of and behind the camera, I'm looking forward to this slice of real modern networking America.
The Social Network hits theaters October 1. Watch the theatrical trailer here.
Likely to be disappointments:
Alpha and Omega, Burlesque, The Chronicles of Narnia: Voyage of the Dawn Treader, Conviction
Undecided:
Black Swan, Legend of the Guardians: The Owls of Ga'Hoole, Little Fockers, Love and Other Drugs