28 Şubat 2011 Pazartesi

Oscars 2011 Recap







It was far from the most exciting Academy Awards broadcast. The most surprising thing that happened was that Kirk Douglas stole the show from hosts James Franco and Anne Hathaway.






As for my Oscar picks I got exactly the same amount right that I did last year - 13 out of 24.






Here are the ones I got wrong:






BEST PICTURE: THE KING'S SPEECH. For the first time in 4 years I got this one wrong. I picked THE SOCIAL NETWORK because that was what I was feeling, but the Academy voters felt differently. THE KING'S SPEECH is excellent and deserving so I'm not disapointed.




Funnily enough last September Bill Maher joked on his HBO show (Real Time With Bill Maher):




"New rule: If they are going to make a historic epic full of British actors in period costumes about Queen Elizabeth helping her father get over his speech impediment, why bother having the Oscars at all? You win."




He didn't get the plot right exactly, but he was dead on there.






BEST SUPPORTING ACTRESS: Melissa Leo won for THE FIGHTER. I really thought Haileed Steinfeld would take it. Sigh.






BEST DIRECTOR: Tom Hooper for THE KING'S SPEECH. I picked David Fincher for THE SOCIAL NETWORK - I really should've seen THE KING'S SPEECH sweep coming.






These were pretty much stabs in the dark:






BEST FOREIGN FILM: IN A BETTER WORLD. Honestly can't remember why I went with INCENDIES.






BEST CINEMATOGRAPHY: Wally Pfister for INCEPTION. Was pulling for Roger Deakins for TRUE GRIT because he's been nominated 9 times and I thought it was his time. It wasn't.






BEST SCORE: Trent Reznor and Atticus Ross for THE SOCIAL NETWORK. The Academy got this one right, but I didn't with my pick of Alexandre Desplat for THE KING'S SPEECH.






BEST SONG: Randy Newman for TOY STORY 3. Another I was happy to be wrong about. I had choosen A.R. Rahman, Rollo Armstrong, and Dido for 127 HOURS which didn't win anything.






BEST DOCUMENTARY: INSIDE JOB - Man, I so wanted Banksy to win for EXIT THROUGH THE GIFT SHOP. However INSIDE JOB was a great flick too so I'm fine with it.






BEST DOCUMENTARY SHORT: STRANGERS NO MORE. My pick - KILLING IN THE NAME is another that I can't remember why I picked it.




Ditto on these 2:






BEST SHORT (ANIMATED): THE LOST THING.






BEST SHORT (LIVE ACTION): GOD OF LOVE.




My favorite line of the entire broadcast: "You've just been Inceptioned!" - as spoken by Alec Baldwin.






More later...

26 Şubat 2011 Cumartesi

Two in the Wave (2010) (Saturday, February 26, 2011) (186)

Two in the Wave is a very interesting and efficient documentary about the relationship between Jean-Luc Godard and Francois Truffaut. They were both cinefiles who met at movie theaters of Paris in the late 1940s. They then went on to collaborate and edit Cahiers du Cinema, the supremely important French film magazine. By the end of the 1950s, they both began writing and directing movies, Truffaut first with The 400 Blows in 1959 and Godard a year later with Breathless.

Here director Emmanuel Laurent shows us how they both came from very different backgrounds (Truffaut from a working-class Parisian family and Godard from an upper-middle class Swiss family), how they had different philosophies of work. We then see how they ultimately split after the student protests and strikes of May 1968, when Godard became radicalized and Truffaut, who totally sided with the students and strikers, was more moderate.

Laurent effectively shows how for both of them, their major works were greatly influenced by other directors they had seen before them and by one another. There's a very effective analysis of how both of them loved how Ingmar Bergman shot women and they both used this sympathetic view in later films (and particularly as the final shots in each of their debut works).

There is also a wonderful chapter about how even after their friendship completely dissolved (after Godard sent Truffaut a horrible and insulting letter and Truffaut responded to him) the two both used Jean-Pierre Leaud, the boy star of The 400 Blows, as their go-to star in some of their major works. Leaud was rather torn between the two men who had at one point been father-figures and mentors to him (he was only 14 when he made The 400 Blows). Interestingly, through both of their work, we see Leaud grow from a boy to a man - in Truffaut's work he came back to play Antoine Doinel again as a grown up.

One thing rather weird that Laurent does in the presentation is that he has almost all of the story read in voice over by a narrator with clips of interviews of the men cut in. Meanwhile he also uses a very Godard/Truffaut-type woman (very sexy with very full lips) in transitional moments and has her reading their clippings from the '50s and '60s. She serves no real purpose but turns the film into a very Godard-esque half-fictional, half-non-fictional piece. She seems to come right out of Two or Three Things I Know About Her or something later and even more opaque by Godard. It's a bit of a risk, but I like that it makes the whole exercise a bit more funny and lighter.

I like that this doc is as tight as it is. It's a very clear telling of an important story - possibly the most important creative cinematic relationships of the era.

Stars: 3 of 4

Waiting for "Superman" (2010) (Saturday, February 26, 2011) (185)

The first act of Davis Guggenheim's documentary/polemic Waiting for "Superman" is a confusing mess. In voice-over he tells us about how he always supported public schools, but when it came time to put his own kids in school he chose to put them into a private school. Now he feels guilty about it and is making a documentary about how bad public schools are and what he thinks should be done to fix them. He introduces us to five kids, mostly in elementary school and one kid in 8th grade. One is in DC, one is in LA, one in Silicon Valley and two in New York City. All of these kids are at risk of falling through the cracks of the system and not getting good educations (except for the rich white girl in Atherton who is just dumb despite her parents being rich and white).

Guggenheim shows how over time public education has been a big policy point for presidents, governors and mayors and how over the past 40 years we have fallen behind other countries. He talks to dozens of education people, mostly heads of school districts and leaders of charter schools. He then starts assigning blame and comes to the simple conclusion that teachers unions are the real reason the whole system is broken.

When he's not directly assigning blame to unions (mentioning the New York City 'rubber rooms,' where bad teachers go to get paid and not teach... a classic and boring refrain from the anti-union side) he and his talking heads speak against them in code, mentioning the "establishment" or the "system" as being the problem. He then goes into a long and elaborate celebration of charter schools - places where teachers' unions are not in control and where administrators can rule absolutely (only very briefly mentioning that test results for charter schools on the whole are frequently as inconsistent as those from public schools).

True to his polemical style, Guggenheim never looks into the efficacy of charter schools and never compares their results across school systems. He never gets into things like teacher retention rates at non-union schools or funding issues. He certainly never examines how teachers are trained and mentored as they go along, how the families of the kids who struggle the most are frequently the most broken or how hard it is for kids to find their ways to the charter school lotteries he fetishizes. For him teachers are complete units out of a box that either work or don't work regardless of the environments in which they teach and socioeconomics of their students' families.

There is no noticeable flow or structure to the film, so as you jump around from one kid to another and from one troubled school district to another (he also talks a good deal about Milwaukee, Pittsburgh and Houston) it's just rapid-fire bitching more than any effective dissection of the problem. There are no chapters or themes that help to lead and no direction from one moment to another. The last 15 minutes are spent watching the five kids in lotteries in their towns trying to win a spot in the better charter schools. This is incredibly boring and totally shallow. We either feel happy or sad for the kids either getting in or not getting in to their schools - but what does that have to do with anything? That's not going to fix the system and is not really what this movie is about.

The movie is really about how unions are the problem and should be done away with (I guess). He celebrates Michelle Rhee of the D.C. school system who came into her job like a tornado and began firing people preaching testing and a more corporate results-based system for elementary schools (she lost her job when mayor Adrian Fenty lost his last November). He celebrates Geoffrey Canada of the Harlem Children's Zone, a successful socio-educational area in Harlem (Canada seems like a good guy working outside the public school system... but is the best example of a good charter school - they're not all like his). He condemns Randi Weingarten of the American Federation of Teachers, one of the two major teachers' unions.

He played so fast and loose with information and facts that I felt like I was watching a piece made for Fox News. The attacks on unions seemed even more awful considering the current standoff in Wisconsin between Republican governor Scott Walker and the unions and the democrats in the legislature (and those teachers have even agreed to change their contract). He never talks about how the Finnish teachers who have the best schools in the world are totally unionized and have many of the benefits (like tenure) that their American peers have. It's all very sickening.

If teachers and teachers unions are so bad, how on earth do we have any kids who succeed? (There's one expert quoted talking about how it's about 7% of teachers who are bad... so are those the only ones causing the problems?) Doesn't the federal government - or even state governments - have something they can do to help - like with give more money to the schools? Clearly the high school in Silicon Valley is nicer than the one in East LA, isn't that something worth examining? But Guggenheim doesn't examine anything.

There are clearly a lot of problems with education and there are hundreds of things that should be done to fix them (sure - get rid of the rubber rooms. Those are disgusting). Guggenheim suggests that without merit pay for teachers, there will be no change and growth. This is dumb.

I'm particularly upset that Guggenheim, now one of the best-known documentarians working today, would make such a sloppy movie. Aside from the unfair attacks on the unions, this film is impossible to follow and the cinematic equivalent of throwing spaghetti at the wall and seeing what sticks. It's a total mess.

Stars; .5 of 4

25 Şubat 2011 Cuma

Hey Kids - Funtime Oscar Picks 2011!


It's that time of year again - the Oscars are Sunday so I've got to make my annual predictions. If you've followed this blog in previous years you'll know I'm no expert - I usually do okay with the major categories, but come up short in my picks for the smaller awards.

Still here's what I got:




1. BEST PICTURE: THE SOCIAL NETWORK







Yes, many are saying THE KING'S SPEECH will win this, having won many previous awards, and boasting the most nominations, but I am so feeling the Facebook film to go home with the gold. 2. BEST DIRECTOR: David Fincher for THE SOCIAL NETWORK. Yep, likewise. 3. BEST ACTOR: Colin Firth for THE KING'S SPEECH. I'd prefer James Franco for 127 HOURS but Firth seems like a shoe-in for his stammer-perfect part as George VI.





4. BEST ACTRESS: Natalie Portman for BLACK SWAN.

Seeing the young Portman again recently at a revival screening of THE PROFESSIONAL (1994) reminded me how far she's come - I expect this to confirm that.



5. BEST SUPPORTING ACTOR:


Christian Bale for THE FIGHTER.

None of the other actors nominated have that unhinged intensity that Bale brought to his role as a boxer gone to seed - or crack.




6. BEST SUPPORTING ACTRESS: Hailee Steinfeld for TRUE GRIT.



Seems about time for such a young actress to win this - also seems time because Steinfeld was so good holding her own up to Jeff Bridges, Matt Damon, and Josh Brolin in this instant Western classic.




And the rest:



7. ART DIRECTION: ALICE IN WONDERLAND



8. CINEMATOGRAPHY: Roger Deakins for TRUE GRIT



9. COSTUME DESIGN: ALICE IN WONDERLAND



10. DOCUMENTARY FEATURE: EXIT THROUGH THE GIFT SHOP. Go Banksy!



11. DOCUMENTARY SHORT: KILLING IN THE NAME



12. FILM EDITING: THE SOCIAL NETWORK



13. MAKEUP: THE WOLFMAN (Rick Baker, Dave Elsey)



14. VISUAL EFFECTS: INCEPTION



15. ORIGINAL SCORE: Alexander Desplat for THE KING'S SPEECH



16. ORIGINAL SONG: "If I Rise" (A. R. Rahman, Dido) from 127 HOURS





17. ANIMATED SHORT: THE GRUFFALO



18. LIVE ACTION SHORT: THE CONFESSION



19. SOUND EDITING: INCEPTION



20. SOUND MIXING: INCEPTION



21. ORIGINAL SCREENPLAY: THE KING'S SPEECH



22. ADAPTED SCREENPLAY: THE SOCIAL NETWORK



23. ANIMATED FEATURE FILM: TOY STORY 3



24. BEST FOREIGN FILM: INCEDIES




We'll see how many I get wrong on Sunday night. 






More later...


HALL PASS: The Film Babble Blog Review

HALL PASS (Dirs. Bobby Farrelly & Peter Farrelly, 2011)



At a preview screening of this film the audience in the packed theater cheered during the trailers when the cast of the upcoming THE HANGOVER PART II hit the screen.





I knew right then that this crowd was going to absolutely love what was ahead. And they did from start to finish of HALL PASS – they laughed loudly at every sex joke, masturbation joke, drug/alcohol joke, every single scatological shenanigan, every utterance of profanity, everything. 





So much so that I missed a lot of dialogue, but, hey, I’m not complaining about that.





I more than got the gist that the premise - Owen Wilson and Jason Sudeikis (Saturday Night Live) are long married yet still juvenile horndogs who are given a week off from their marriages by their wives Jenna Fischer (The Office) and Christina Applegate – was just another excuse for the Farrelly brothers to again bombard the populace with their brand of extremely cheap humor.





From OLD SCHOOL to the oeuvre of Judd Apatow, the boy-men-who-can’t-grow-up-genre has been so much better served. There are a few laughs here and there – the familiar Law And Order sound effect greets the day 1-7 segment titles, and there are a fair amount of decent (though not laugh out loud funny) one-liners, but they are a rarity among the hundreds of groaners throughout.





There’s an odd mixture of a supporting cast: Stephen Merchant (who’s usually not far away from Ricky Gervais), J.B. Smoove, Joy Behar (!), Alyssa Milano, and most ridiculously Richard Jenkins as a too tan gold necklace sporting swinger who guides the 2 men in their quest to get laid while their wives are out of town.





Predictably Fischer and Applegate are themselves tempted by convenient suitors so the film tries to grow a heart in its last third, but by then I was so worn out by the tiresome cramming of foul gags into every scene that I really didn’t care how it turned out – who scored, who realized the supposed strength of their love, who got punked –none of it mattered to me.





But then, I may be in the minority because from what I witnessed at that screening, there’s no denying that it’s a crude crowd-pleaser that will probably be a big hit. To me, however, it just confirmed that the Farrelly brothers are still on my short list of my least favorite film makers.





More later...

We Are What We Are (Friday, February 25, 2011) (9)

A few years ago I was really impressed by the Swedish film Let the Right One In, a vampire movie like I had never seen before then. The melancholy of modernity and the sadness and isolation of a vampire girl's life, come together for a sympathetic and interesting tale that would be considered a horror movie in most situations. But it is not really horror, it's the shell of the genre with the guts of an interesting think piece about being a kid, having hopes and desires and being in (puppy) love.

We Are What We Are is very similar to Let the Right One In both in style and look as well as what it is trying to convey emotionally. This is not a horror movie, really, but an interesting look at Mexican culture and the craziness of the urban setting (in one of the biggest cities in the world). Writer-director Jorge Michel Grau does a good job showing us an interesting view of modern life, but his script is too crowded with unnecessary junk to be as good as it could have been.

The film opens with an old man walking through a shopping mall and falling over dead. When the police do an autopsy on him they find inside his stomach a human finger (with painted finger nail). Back at his house his family is wondering where he is. They are cannibals and he has been out looking for food - that is, another person they can cut up to eat. Once they find out he is dead his teenage kids (two sons and a daughter) and his wife must go out to hunt for their next human meal. They have to figure out if they will continue to live the way they do or if they want to give it up and become 'normal' people.

They try to get prostitutes back to their place (which had always been a go-to method the father used), one son goes to a gay bar to pick up a kid to bring back to the house. At some point the police catch on to what's going on and try to stop it.

There is a lot of interesting information here about the roles of fathers and mothers in Mexican families and how the father never showed his kids how he did what he did with luring the people back their house to be killed. Once he's gone, the mother gains power and standing in the household and has to fight against her sons to keep that status. The cops move slowly but effectively through the investigation, ultimately finding out what is going on.

The overly complicated script is the worst part of this film. At some point there were about three possible victims in the house, the cops were on their way and there were a few prostitutes angry with what had happened to one of their prozzie friends earlier. Considering the basic story is simply that four people go out to find a person to kill, then kill that person and then the cops come, there are too many other layers that complicated the impact of the story. I appreciate the subtext of the son's homosexuality (is he really gay or does he just use it as a way to get young men to follow him home?), but as a plot tangent it is a bit unneeded. The story is paced so slowly, also, that it's hard to pay attention to what is going on, because it's rather dull through the first act and a half.

The look of the film is very nice and rather reminiscent of Let the Right One In. Every interior shot is filled with stuff and there's constant noise and commotion from the outside world. There are few pretty and easy shots in the film - almost everything is difficult and dirty. Just as George Romero used zombies to criticize our culture in his Living Dead movies, cannibals seem to have a symbolic meaning here. I'm interested in how they can represent the roles of consumerism, manufacturing and big business.

I particularly like that this movie uses the "cannibals-live-next-door-to-us" story as an entrance into an examination of modern culture. There is blood and violence here, but it's not really about this gore. It's about fairness and decency in society.

Stars: 2.5 of 4

MEZARINA TÜKÜRECEĞİM +18 KORKU

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