May 06, 2009
May 05, 2009
The Bronze 2.0 is Forthcoming
The recent lack of posting is a result of my attention being focused on making a new web site. Fairly soon I will be launching a new and improved version of The Bronze. I hope to have it ready by the end of the week. Until then, thank you for your patience.
April 25, 2009
Three Monkeys Debuts on The Auteurs
"The Auteurs and Zeitgeist Films are celebrating Turkish filmmaker Nuri Bilge Ceylan this month by showing his two newest films on The Auteurs for free.
Ceylan’s newest film, Three Monkeys, which garnered him the Best Director award at the 2008 Cannes Film Festival, will be debuting online and shown for free at The Auteurs on April 26, and the filmmaker’s previous movie, Climates (winner of FIPRESCI prize at Cannes in 2006) will be playing online for free from April 23 to May 3.
Three Monkeys will be also be opening theatrically in New York on May 1st. To find out more information, visit Zeitgeist Films."
April 05, 2009
Adventureland
New Movie Review.
Written and directed by Greg Mottola
Starring Jesse Eisenberg, Kristen Stewart, Martin Starr, Ryan Reynolds, Bill Hader
Adventureland is Greg Mottola's third film, and his follow-up to Superbad. Those looking for a film like Superbad will be disappointed here, those more in the mood for a serio-comedy will be more than pleased. Superbad was a film written by Seth Rogen and Even Goldberg, and it was truly their film. With Adventureland, Mottola has written the script as well which he says is partly autobiographical, hence the film comes across as very personal.
The story follows a college grad, James Brennan, played by Eisenberg, who needs to earn some money over the summer if he is to go to university in New York as he has dreamed. Unfortunately his impressive academics can't score him a good job, so he has to spend the summer at Adventureland, a local amusement park that hires any willing applicants. The job is anything but glamorous, but it is here James will come out of his shell, make important friends, and meet his first love, Em, played by Kristen Stewart.
The film is being promoted as full-on comedy, but it is actually much more concerned with its characters than laughs. I was touched by how fair it was to each of its characters. Even Connell, played by Ryan Reynolds, who in any other movie would be a cardboard bad guy, is likable and easy to empathize with. He poses the main obstacle between James and Em's love, but Connell is far too sad and pathetic to be angry with. Reynolds plays him perfectly, making sure to avoid stereotypes, and to add an endearing sensitivity. The supporting cast is wonderful, and many of the characters get moments other movies wouldn't let them have. Joel (played by Apatow alum, Martin Starr) quickly bonds with James and becomes a sort of third wheel for the leads. During one scene, a bunch of employees are talking after work, quietly James and Em slip off to be alone. The camera then focuses on Joel as he notices and looks on, sad and lonely.
Eisenberg and Stewart are both superb and have a wonderfully unexpected chemistry on screen. I last saw Eisenberg in The Squid and the Whale, another brilliant film. His character in Adventureland is certainly similar, almost as if it is the same guy a few years later. It's hard to complain though as he may the the most likable awkward leading man this side of Michael Cera. His character, like all others in the movie are fully realized human beings and he really brings James to life. However it is Kristen Stewart who steals the show. She now joins the ranks of incredible young actresses such as Ellen Page or Olivia Thirlby who are going to have amazing careers. She makes Em one of the more memorable characters in recent comedies. She is smart, witty, vulnerable, confused and Stewart plays every little emotion as real as possible. This is a script in need of admiration as it actually understands the female lead rather than just involving her in the plot. In fact, all of the characters are understood and respected.
Each character is a flawed human being. Everyone makes mistakes, but they are good people and we care for them. In life, good people are doomed to do stupid things and hurt each other. Adventureland is a film that knows this and sees the big picture and is proud of our small triumphs, in spite of our many failures. The film takes place in 1987, and feels truly nostalgic. It is written and directed by a man in his 40s, but he does not degrade the teens and twenty somethings, like so many comedies have. He sees them as smart and thoughtful people worth telling real stories about. The young love in this film is treated with care far too rare in movies.
The film is very funny, but never in a ridiculous way. Nothing really happens that is out of the ordinary. The laughs are natural and never cheap. The movie is more of a drama than some might expect and it certainly fits in more with The Squid and the Whale (although they are quite different) than Superbad. Mottola shows lots of promise and I can't wait to see his next feature, Paul, which is written by and starring the Shaun of the Dead/Hot Fuzz guys Simon Pegg and Nick Frost (The drool inducing synopsis on IMDB for that one is "Two British comic-book geeks travel across the USA together"). Mottola has made a film where the young characters are realistic, flawed and beautiful. We care about them deeply, and for that the film maker should be praised. Adventureland is the most emotionally resonant comedy since Juno, and my favourite film of 2009 so far.
Written and directed by Greg Mottola
Starring Jesse Eisenberg, Kristen Stewart, Martin Starr, Ryan Reynolds, Bill Hader
Adventureland is Greg Mottola's third film, and his follow-up to Superbad. Those looking for a film like Superbad will be disappointed here, those more in the mood for a serio-comedy will be more than pleased. Superbad was a film written by Seth Rogen and Even Goldberg, and it was truly their film. With Adventureland, Mottola has written the script as well which he says is partly autobiographical, hence the film comes across as very personal.
The story follows a college grad, James Brennan, played by Eisenberg, who needs to earn some money over the summer if he is to go to university in New York as he has dreamed. Unfortunately his impressive academics can't score him a good job, so he has to spend the summer at Adventureland, a local amusement park that hires any willing applicants. The job is anything but glamorous, but it is here James will come out of his shell, make important friends, and meet his first love, Em, played by Kristen Stewart.
The film is being promoted as full-on comedy, but it is actually much more concerned with its characters than laughs. I was touched by how fair it was to each of its characters. Even Connell, played by Ryan Reynolds, who in any other movie would be a cardboard bad guy, is likable and easy to empathize with. He poses the main obstacle between James and Em's love, but Connell is far too sad and pathetic to be angry with. Reynolds plays him perfectly, making sure to avoid stereotypes, and to add an endearing sensitivity. The supporting cast is wonderful, and many of the characters get moments other movies wouldn't let them have. Joel (played by Apatow alum, Martin Starr) quickly bonds with James and becomes a sort of third wheel for the leads. During one scene, a bunch of employees are talking after work, quietly James and Em slip off to be alone. The camera then focuses on Joel as he notices and looks on, sad and lonely.
Eisenberg and Stewart are both superb and have a wonderfully unexpected chemistry on screen. I last saw Eisenberg in The Squid and the Whale, another brilliant film. His character in Adventureland is certainly similar, almost as if it is the same guy a few years later. It's hard to complain though as he may the the most likable awkward leading man this side of Michael Cera. His character, like all others in the movie are fully realized human beings and he really brings James to life. However it is Kristen Stewart who steals the show. She now joins the ranks of incredible young actresses such as Ellen Page or Olivia Thirlby who are going to have amazing careers. She makes Em one of the more memorable characters in recent comedies. She is smart, witty, vulnerable, confused and Stewart plays every little emotion as real as possible. This is a script in need of admiration as it actually understands the female lead rather than just involving her in the plot. In fact, all of the characters are understood and respected.
Each character is a flawed human being. Everyone makes mistakes, but they are good people and we care for them. In life, good people are doomed to do stupid things and hurt each other. Adventureland is a film that knows this and sees the big picture and is proud of our small triumphs, in spite of our many failures. The film takes place in 1987, and feels truly nostalgic. It is written and directed by a man in his 40s, but he does not degrade the teens and twenty somethings, like so many comedies have. He sees them as smart and thoughtful people worth telling real stories about. The young love in this film is treated with care far too rare in movies.
The film is very funny, but never in a ridiculous way. Nothing really happens that is out of the ordinary. The laughs are natural and never cheap. The movie is more of a drama than some might expect and it certainly fits in more with The Squid and the Whale (although they are quite different) than Superbad. Mottola shows lots of promise and I can't wait to see his next feature, Paul, which is written by and starring the Shaun of the Dead/Hot Fuzz guys Simon Pegg and Nick Frost (The drool inducing synopsis on IMDB for that one is "Two British comic-book geeks travel across the USA together"). Mottola has made a film where the young characters are realistic, flawed and beautiful. We care about them deeply, and for that the film maker should be praised. Adventureland is the most emotionally resonant comedy since Juno, and my favourite film of 2009 so far.
April 01, 2009
Alan Moore Loves Zack Snyder's Watchmen
In a recent interview Alan Moore revealed he saw Watchmen, the film adaptation of his acclaimed comic book series from the 1980s. Moore is infamous for hating Hollywood, and even said he would never watch the movie. He even refused to receive any money from Warner Brothers. In a change of heart, after being convinced by a friend, Alan watched the movie. His reaction was very different from what any of us expected...
"I actually loved it. I couldn't believe it. Zack did a wonderful job of bringing my vision to the screen. It is very much like watching my own dreams come true. I did not think it was possible, but the movie does convey all the themes of the comic. I am eager to see the full cut of the film and I'm very excited about the idea of Snyder adapting more of my work. I was on the phone with him today to apologize and we started talking about making Lost Girls, a comic I worked on with my wife, into a feature film. Hopefully you'll hear more about that soon."
March 29, 2009
March 25, 2009
"The New Great American Director"
In a recent post on his blog, Roger Ebert has given the prestigious title of "The new great American Director" to film maker Ramin Bahrani.
"After three films, each a master work, he has established himself as a gifted, confident filmmaker with ideas that involve who and where we are at this time. His films pay great attention to ordinary lives that are not so ordinary at all."
It is certainly hard to disagree with Ebert, even though I have only seen one of Bahrani's films, Chop Shop, which is a film that nearly made my top ten list from last year. I have his other critically acclaimed film, Man Push Cart, which I plan to watch as soon as I finish this post. His upcoming feature, Goodbye Solo looks incredible and is one of my most anticipated films of this year. It begins it's limited release on Friday.
I also think Bahrani should be celebrated as important if only because he is a true auteur in an industry with so few left. Also, his characters are as fascinating and as interesting as any others being created today.
"Bahrani doesn't categorize his characters. I called them outsiders in one of our conversations at Toronto 2008, and he said he liked that. 'It's not just 'emigrant.' It's different. Their lives are asking, How should I be as a person, how should I be behaving, why is the world this way? You could put me in a room full of people who look just like me and I would feel like I don't understand. Those are the questions. It's in every Herzog film: How do you live in this world? How is the world like this? What else is there to think about?'"
I just thought I should bring attention to Ebert's post, as he has given directors this title before. He does it before the mainstream catches on. The other time I can think of was when he predicted that Scorsese would eventually be one of the most important American film makers.
You can find Ebert's full article here
You can find a trailer for Goodbye Solo here
"After three films, each a master work, he has established himself as a gifted, confident filmmaker with ideas that involve who and where we are at this time. His films pay great attention to ordinary lives that are not so ordinary at all."
It is certainly hard to disagree with Ebert, even though I have only seen one of Bahrani's films, Chop Shop, which is a film that nearly made my top ten list from last year. I have his other critically acclaimed film, Man Push Cart, which I plan to watch as soon as I finish this post. His upcoming feature, Goodbye Solo looks incredible and is one of my most anticipated films of this year. It begins it's limited release on Friday.
I also think Bahrani should be celebrated as important if only because he is a true auteur in an industry with so few left. Also, his characters are as fascinating and as interesting as any others being created today.
"Bahrani doesn't categorize his characters. I called them outsiders in one of our conversations at Toronto 2008, and he said he liked that. 'It's not just 'emigrant.' It's different. Their lives are asking, How should I be as a person, how should I be behaving, why is the world this way? You could put me in a room full of people who look just like me and I would feel like I don't understand. Those are the questions. It's in every Herzog film: How do you live in this world? How is the world like this? What else is there to think about?'"
I just thought I should bring attention to Ebert's post, as he has given directors this title before. He does it before the mainstream catches on. The other time I can think of was when he predicted that Scorsese would eventually be one of the most important American film makers.
You can find Ebert's full article here
You can find a trailer for Goodbye Solo here
March 20, 2009
I Love You, Man
New Movie Review. 
Written by John Hamburg and Larry Levin
Directed by John Hamburg
Starring Paul Rudd, Jason Segel, Rashida Jones, Andy Samberg
I've said it before, we are living in a truly wonderful era of comedy, and it has shown no signs of stopping. This is mostly attributable to Judd Apatow who has reinvented the adult comedy and is responsible for bringing attention to a new generation of comedic actors. Most of the great comedies of recent years have either been produced, written, or directed by Judd Apatow. His name is absent from the credits of I Love you, Man, but his influence is easily detectable. Also, the two stars of the film, Paul Rudd and Jason Segel, are Apatow regulars.
The plot is simple and at first glance, trivial. Real estate agent Peter Klaven (Paul Rudd) gets engaged to Zooey (Rashida Jones). Peter realizes he doesn't have any close guy friends, and he begins a search for a friend he can make his best man at his wedding. He keeps this secret from his fiancee, but his mother and gay brother Robbie (Andy Samberg) actively try to help him and set him up on "man dates" which, of course, lead to some hilarious results. Meanwhile, Peter is trying to sell Lou Ferrigno's (TV's The Incredible Hulk, playing himself) House. At an open house he meets Sydney Fife (Jason Segel), the first promising candidate for the best man position. He is not at the open house because he is interested in buying a home but rather to pick up girls and eat free food. Sydney is pretty much the opposite of Peter.
Peter gets along with women better than he does with men, as he is an honest, sensitive type. Sydney is open and in touch with his manliness, and perhaps in a way, is even more honest. Peter is about as awkward as possible, straining to act cool and failing miserably in every scene. Paul Rudd handles the comedic timing wonderfully, and manages to earn a laugh every time Peter tries to impress. Sydney is effortlessly cool. He invites Peter to his home, and shows him his garage which has been converted into "The Man Cave" complete with several TVs, every instrument needed for a rock band and even what Sydney refers to as a "jerk-off station". Essentially, Sydney is a guy friend we would all like to have. He is incredibly fun and helps Peter loosen up and enjoy himself. Sydney speaks frankly about everything, but not in an obscene way like this type of character might in a poorer comedy, rather he is open and helps those he speaks to to open up as well. It is remarkable that Jason Segel takes this hedonistic character and makes him into a plausible, human best friend.
Both lead actors do a tremendous job of making the movie feel authentic. Paul Rudd has established himself as yet another Apatow regular who can be a dependable leading man. Jason Segel finally departs from his sensitive guy character he has been playing since Freaks & Geeks, and is just as effective. We love these characters equally, and it's mostly because it is easy to relate to them. Some might relate more to Peter, some to Sydney. Either way, I think if you connect to the film personally, as I did, there is something behind the laughter worth discovering.
I Love You, Man is consistently burst out laughing funny as well as somewhat serious and real. It's very exciting to see that there are other film makers and writers who can maintain the level of quality that Judd Apatow has introduced to the genre. Using actors familiar with this style helps, I imagine, but more importantly it is that Apatow has shown that making comedies shouldn't be about grossing people out, or creating ridiculously silly situations, or having the most gratuitousness possible. It's about making something real, connecting with the audience, and finding things we can all laugh about.
Written by John Hamburg and Larry Levin
Directed by John Hamburg
Starring Paul Rudd, Jason Segel, Rashida Jones, Andy Samberg
I've said it before, we are living in a truly wonderful era of comedy, and it has shown no signs of stopping. This is mostly attributable to Judd Apatow who has reinvented the adult comedy and is responsible for bringing attention to a new generation of comedic actors. Most of the great comedies of recent years have either been produced, written, or directed by Judd Apatow. His name is absent from the credits of I Love you, Man, but his influence is easily detectable. Also, the two stars of the film, Paul Rudd and Jason Segel, are Apatow regulars.
The plot is simple and at first glance, trivial. Real estate agent Peter Klaven (Paul Rudd) gets engaged to Zooey (Rashida Jones). Peter realizes he doesn't have any close guy friends, and he begins a search for a friend he can make his best man at his wedding. He keeps this secret from his fiancee, but his mother and gay brother Robbie (Andy Samberg) actively try to help him and set him up on "man dates" which, of course, lead to some hilarious results. Meanwhile, Peter is trying to sell Lou Ferrigno's (TV's The Incredible Hulk, playing himself) House. At an open house he meets Sydney Fife (Jason Segel), the first promising candidate for the best man position. He is not at the open house because he is interested in buying a home but rather to pick up girls and eat free food. Sydney is pretty much the opposite of Peter.
Peter gets along with women better than he does with men, as he is an honest, sensitive type. Sydney is open and in touch with his manliness, and perhaps in a way, is even more honest. Peter is about as awkward as possible, straining to act cool and failing miserably in every scene. Paul Rudd handles the comedic timing wonderfully, and manages to earn a laugh every time Peter tries to impress. Sydney is effortlessly cool. He invites Peter to his home, and shows him his garage which has been converted into "The Man Cave" complete with several TVs, every instrument needed for a rock band and even what Sydney refers to as a "jerk-off station". Essentially, Sydney is a guy friend we would all like to have. He is incredibly fun and helps Peter loosen up and enjoy himself. Sydney speaks frankly about everything, but not in an obscene way like this type of character might in a poorer comedy, rather he is open and helps those he speaks to to open up as well. It is remarkable that Jason Segel takes this hedonistic character and makes him into a plausible, human best friend.
Both lead actors do a tremendous job of making the movie feel authentic. Paul Rudd has established himself as yet another Apatow regular who can be a dependable leading man. Jason Segel finally departs from his sensitive guy character he has been playing since Freaks & Geeks, and is just as effective. We love these characters equally, and it's mostly because it is easy to relate to them. Some might relate more to Peter, some to Sydney. Either way, I think if you connect to the film personally, as I did, there is something behind the laughter worth discovering.
I Love You, Man is consistently burst out laughing funny as well as somewhat serious and real. It's very exciting to see that there are other film makers and writers who can maintain the level of quality that Judd Apatow has introduced to the genre. Using actors familiar with this style helps, I imagine, but more importantly it is that Apatow has shown that making comedies shouldn't be about grossing people out, or creating ridiculously silly situations, or having the most gratuitousness possible. It's about making something real, connecting with the audience, and finding things we can all laugh about.
March 06, 2009
Hack Snyder
"Snyder’s take on “Watchmen” is like a karaoke singer who hits most of the notes but doesn’t understand the lyrics to the song. The filmmaker has recreated a majority of the panels from his source material, but he’s compiled them in such a way that makes for a brutal, disjointed, misguided experience."
-Adam Fendelman
"I'll only screw it up this much, Dave"
Zack Snyder explains his intentions to Watchmen co-creator/illustrator Dave Gibbons. All Dave does is confusedly stare in to the abyss of stupidity.
-Adam Fendelman
"I'll only screw it up this much, Dave"
Zack Snyder explains his intentions to Watchmen co-creator/illustrator Dave Gibbons. All Dave does is confusedly stare in to the abyss of stupidity.
March 05, 2009
Watchmen
New Movie Review.
Written by David Hayter and Alex Tse
Directed by Zack Snyder
Starring Billy Crudup, Jackie Earle Haley, Patrick Wilson, Malin Akerman, Matthew Goode, Jeffery Dean Morgan
Watchmen was the most frustrating movie experience of my life. It is adapted from my favourite work in comics, that also happens to be one of my favourite works in fiction, period. My lofty expectations, admittedly, may have been impossible to satisfy, but at first, it seemed a possibility. The opening sequence of the film is quite good. Then the opening credits, which are accompanied by Bob Dylan, are some of the best I've seen. It isn't long after that when cracks start to show. The original score is, for the most part, very poor. The musical cues are laughable. The acting seems top notch until a couple characters are introduced. The second half completely falls apart.
The score is so standard and out of place, it takes you right out of the film. Stupid action music that should stick to Mortal Kombat and the like. Horribly cheesy guitar twangs. Generic ominous music underlining the emotions so Mr. Snyder doesn't actually have to bring them to life. One piece of music actually works quite well though. The character Dr. Manhattan has a brilliant sequence, and I mean brilliant, where we see time through his perspective. He describes different things happening in his life as if they were all occurring at once. The music during this scene is restrained, cold, but beautiful, much like Dr. Manhattan himself. That success is, of course, undone by the numskull choices throughout the remainder of the movie.
It is a shame that the actors give such noble performances for this movie. Patrick Wilson and Jackie Earle Haley bring the incredible characters of Nite Owl and Rorschach to life in an extraordinary way. It is Billy Crudup's turn of Dr. Manhattan that impresses the most, however. His voice is distant, calm, with the slightest hints of empathy and power, exactly how it should be. The rest of the main cast are also great, Malin Akerman, and Jeffrey Dean Morgan have tough roles to play, and they admirably succeed. I am sure that Matthew Goode's performance is also very good, but his role suffers from editing, and lack of execution in the final act which is hardly his fault. It is in the supporting cast that we find some really bad acting.
First off, Robert Wisden as a caricature of Richard Nixon. He has the most ridiculous makeup on, intended to increase his likeness to Nixon, but what it does is look fake and cartoonish. What makes it worse is that there isn't supposed to be a single scene with Nixon. Such an addition is absurd and ill-advised. That is outdone, believe it or not, with what I am claiming to be the most embarrassing performance in a serious movie ever. Carla Gugino plays Sally Jupiter, the mother of Laurie (Akerman) who resides in a rest home in California. In actuality, Gugino is 37, but her character must at least be in her late 60s. The makeup here, is even worse. The acting, is even worse than that. She completely misfires, failing to bring any aspect of the original character to life. In the comic she came off warm, sad, and a little pathetic. Gugino plays her bitchy and spunky, and appears to be as able-bodied as they come. In flashbacks, she gets to play her own age and she is just as bad. I even went a bit red in the face when watching her read her lines. Her screen time is minimal, but her performance is poisonous enough to infect the film even when she isn't there.
As someone who adores the source material, the first half wasn't all that bad. Much of the dialogue and narration is word for word accurate. The set design is wonderful, with an awe-inspiring attention to detail. However, to say, like so many have, that Zack Snyder is faithful to the source material is absolutely incorrect. For the most part he is faithful to the surface of source material, but he isn't as true to the tone, the themes, the grit, and sometimes even the characters. The ending is changed, which is beyond unforgivable. The new ending presents a plot-hole so large it is appalling.
I have to give credit, where credit is due. Zack Snyder's visuals, although hardly appropriate for the movie, are astounding. There is a place for him in the industry, and despite my current homicidal fantasies, I actually think the guy will make some good stuff, at least to look at. Tackling the intellectually complex Watchmen? Bad idea. Zack Snyder's movie occasionally feels like a 12 year old's book report come to life.
Thankfully, the source material is so strong, that some of it's richness comes through in the movie. Dr. Manhattan's scenes work like magic. The film is somewhat thought-provoking, even if the-supposed-to-be-a-shocker ending is glossed over. Most critics are discussing the themes of the story in their reviews, something I'll only do if talking about the comic. Several sequences are a joy to behold, seeing the comic come to life. Alas, the (mostly) superb acting, and several well-executed parts are not enough to redeem what this film really is, a revolting failure.
Snyder's brash, overdone style is so wrong for the movie. Everything looks artificial, but the comic book felt so gritty and real. A Kubrickian approach would have been better suited (Watchmen is more Clockwork Orange than it is 300), but still, the comic should never have been adapted to the screen. The original Watchmen is a master work, the crowning achievement of it's medium, the Citizen Kane of comics, and here it has been sullied. I demand retribution.
Written by David Hayter and Alex Tse
Directed by Zack Snyder
Starring Billy Crudup, Jackie Earle Haley, Patrick Wilson, Malin Akerman, Matthew Goode, Jeffery Dean Morgan
Watchmen was the most frustrating movie experience of my life. It is adapted from my favourite work in comics, that also happens to be one of my favourite works in fiction, period. My lofty expectations, admittedly, may have been impossible to satisfy, but at first, it seemed a possibility. The opening sequence of the film is quite good. Then the opening credits, which are accompanied by Bob Dylan, are some of the best I've seen. It isn't long after that when cracks start to show. The original score is, for the most part, very poor. The musical cues are laughable. The acting seems top notch until a couple characters are introduced. The second half completely falls apart.
The score is so standard and out of place, it takes you right out of the film. Stupid action music that should stick to Mortal Kombat and the like. Horribly cheesy guitar twangs. Generic ominous music underlining the emotions so Mr. Snyder doesn't actually have to bring them to life. One piece of music actually works quite well though. The character Dr. Manhattan has a brilliant sequence, and I mean brilliant, where we see time through his perspective. He describes different things happening in his life as if they were all occurring at once. The music during this scene is restrained, cold, but beautiful, much like Dr. Manhattan himself. That success is, of course, undone by the numskull choices throughout the remainder of the movie.
It is a shame that the actors give such noble performances for this movie. Patrick Wilson and Jackie Earle Haley bring the incredible characters of Nite Owl and Rorschach to life in an extraordinary way. It is Billy Crudup's turn of Dr. Manhattan that impresses the most, however. His voice is distant, calm, with the slightest hints of empathy and power, exactly how it should be. The rest of the main cast are also great, Malin Akerman, and Jeffrey Dean Morgan have tough roles to play, and they admirably succeed. I am sure that Matthew Goode's performance is also very good, but his role suffers from editing, and lack of execution in the final act which is hardly his fault. It is in the supporting cast that we find some really bad acting.
First off, Robert Wisden as a caricature of Richard Nixon. He has the most ridiculous makeup on, intended to increase his likeness to Nixon, but what it does is look fake and cartoonish. What makes it worse is that there isn't supposed to be a single scene with Nixon. Such an addition is absurd and ill-advised. That is outdone, believe it or not, with what I am claiming to be the most embarrassing performance in a serious movie ever. Carla Gugino plays Sally Jupiter, the mother of Laurie (Akerman) who resides in a rest home in California. In actuality, Gugino is 37, but her character must at least be in her late 60s. The makeup here, is even worse. The acting, is even worse than that. She completely misfires, failing to bring any aspect of the original character to life. In the comic she came off warm, sad, and a little pathetic. Gugino plays her bitchy and spunky, and appears to be as able-bodied as they come. In flashbacks, she gets to play her own age and she is just as bad. I even went a bit red in the face when watching her read her lines. Her screen time is minimal, but her performance is poisonous enough to infect the film even when she isn't there.
As someone who adores the source material, the first half wasn't all that bad. Much of the dialogue and narration is word for word accurate. The set design is wonderful, with an awe-inspiring attention to detail. However, to say, like so many have, that Zack Snyder is faithful to the source material is absolutely incorrect. For the most part he is faithful to the surface of source material, but he isn't as true to the tone, the themes, the grit, and sometimes even the characters. The ending is changed, which is beyond unforgivable. The new ending presents a plot-hole so large it is appalling.
I have to give credit, where credit is due. Zack Snyder's visuals, although hardly appropriate for the movie, are astounding. There is a place for him in the industry, and despite my current homicidal fantasies, I actually think the guy will make some good stuff, at least to look at. Tackling the intellectually complex Watchmen? Bad idea. Zack Snyder's movie occasionally feels like a 12 year old's book report come to life.
Thankfully, the source material is so strong, that some of it's richness comes through in the movie. Dr. Manhattan's scenes work like magic. The film is somewhat thought-provoking, even if the-supposed-to-be-a-shocker ending is glossed over. Most critics are discussing the themes of the story in their reviews, something I'll only do if talking about the comic. Several sequences are a joy to behold, seeing the comic come to life. Alas, the (mostly) superb acting, and several well-executed parts are not enough to redeem what this film really is, a revolting failure.
Snyder's brash, overdone style is so wrong for the movie. Everything looks artificial, but the comic book felt so gritty and real. A Kubrickian approach would have been better suited (Watchmen is more Clockwork Orange than it is 300), but still, the comic should never have been adapted to the screen. The original Watchmen is a master work, the crowning achievement of it's medium, the Citizen Kane of comics, and here it has been sullied. I demand retribution.
The Auteurs Poll Results
The results for The Auteurs Poll I conducted are in. You can go to the site where I posted them to see detailed results and discussion.
As voted by 95 users on The Auteurs.com, here are the 10 best films and directors:
As voted by 95 users on The Auteurs.com, here are the 10 best films and directors:
The Top Ten Films
1. Citizen Kane – Orson Welles (1941) USA
2. 2001 A Space Odyssey – Stanley Kubrick (1968) USA
3. 8 ½ – Federico Fellini (1963) Italy
4 (tie). The Rules of the Game – Jean Renoir (1939) France
Seven Samurai – Akira Kurosawa (1954) Japan
6 (tie). The 400 Blows – Francois Truffaut (1959) France
Vertigo – Alfred Hitchcock (1958) USA/UK
8. The Passion of Joan of Arc – Carl Theodre Dreyer (1928) France
9 (tie). The Godfather – Francis Ford Coppola (1972) USA
Rashomon – Akira Kurosawa (1950) Japan
Stalker – Andrei Tarkovsky (1979) Russia
Taxi Driver- Martin Scorsese (1976) USA
—————————————————————————————————————————-
The Top Ten Directors
1. Stanley Kubrick
2. Federico Fellini
3. Alfred Hitchcock
4 (tie). Ingmar Bergman
Akira Kurosawa
Orson Welles
7. Francis Ford Coppola
8. Andrei Tarkovsky
9. Martin Scorsese
10. Jean-Luc Godard
March 02, 2009
The Auteurs Poll: My Submission
For The Auteurs Poll, which I have mentioned on this site before, I had to compile a top ten list of, what I think are, the ten greatest films. It wasn't easy. I've been working on my list since the beginning of February and have only just recently finished it. Currently, I'm working on counting everybody's lists (over 90 sent in so far), and will soon be publishing the results. In the meantime, here is my submission:
The 10 Greatest Films, listed in alphabetical order:
The 10 Greatest Films, listed in alphabetical order:
8 ½ – Federico Fellini (1963) Italy
2001: A Space Odyssey – Stanley Kubrick (1968) USA
Aguirre, the Wrath of God – Werner Herzog (1972) Germany
Apocalypse Now – Francis Ford Coppola (1979) USA
Citizen Kane – Orson Welles (1941) USA
The Decalogue – Krzysztof Kieslowski (1989) Poland
Fitzcarraldo – Werner Herzog (1982) Germany
Princess Mononoke – Hayao Miyazaki (1999) Japan
Seven Samurai – Akira Kurosawa (1954) Japan
Synecdoche, New York – Charlie Kaufman (2008) USA
February 16, 2009
The Masterpieces. Vol III The Enigma of Kaspar Hauser
mas⋅ter⋅piece
–noun
The Masterpieces is an ongoing list of the greatest achievements in cinema from around the world. The only requirement is that no movie released in the last year can be added. These are the films that set the highest standards for their art form and respective genres. They can be important socially and universally or they can resonate on a deeply personal level or they can simply be incredibly entertaining.
-----------------------------------------------------------------------------------------------------------------
The Enigma of Kaspar Hauser
–noun
| 1. | a person's greatest piece of work, as in an art. |
| 2. | anything done with masterly skill |
| 3. | a consummate example of skill or excellence of any kind |
The Masterpieces is an ongoing list of the greatest achievements in cinema from around the world. The only requirement is that no movie released in the last year can be added. These are the films that set the highest standards for their art form and respective genres. They can be important socially and universally or they can resonate on a deeply personal level or they can simply be incredibly entertaining.
-----------------------------------------------------------------------------------------------------------------
The Enigma of Kaspar Hauser
Written & Directed by Werner Herzog
"Do you hear that screaming all around us? The screaming that man calls silence"
When the film opens up with this quote on screen, along with an image of a wheat field swaying in the wind, without a sound, you realize you are in for a profound cinematic experience. Courtesy of one of the world's best film makers, Werner Herzog (the self proclaimed "soldier of cinema"), The Enigma of Kaspar Hauser is a film that will get you every way a film can. It will grab your heart, engage your mind and enrich your soul.
The story is of Kaspar Hauser, a man who has been raised in isolation, without having ever seen another person. His mysterious keeper, a man who keeps him fed and chained in a make shift prison, eventually lets him out. He teaches Kaspar to stand and walk, and to write. The man then brings Kaspar to a nearby village, and leaves him standing in the middle of town, alone, with a letter firmly grasped in his left hand, the bible and his hat in his right hand. The letter explains who Kaspar is and that he should be put to use as seen fit. He quickly becomes the object of the townspeople's curiosity. In some cases, people become emotionally attached to him, others ridicule him. The more important figures of the town regard him as an interesting scientific specimen and take notes on him as if he is some sort of discovery to be analysed, not a real human being to be understood.
A family takes him into their home and, along with other people, teach him how to live. Eventually Kaspar is introduced to the workings of society. At this point, he is able to adequately articulate himself. He finds so many traditions and rules bizarre. It is here that he begins to make observations and make incredible statements. When seated at a table with an older woman, he asks, "why do the women only cook and clean?". She tells him to ask the men. He finds this social standing unnatural and confusing. How is it that such an uncivilized man seems so much more civil than those raised in society.
When Kaspar is introduced to music, and listens to another man playing piano, he proclaims "the music, it feels strong in my heart". Kaspar is so pure and untainted, it is emotionally revelatory. He is the most endearing human subject in all of cinema.
He is told again and again that he is wrong, and must adjust to the society he finds absurd. In most cases, he seems wiser and more thoughtful then the people trying to teach him. One man performs a test of logic on Kaspar. He tells him there are two villages. One made completely of liars, and the other made completely of people who tell only the truth. The man asks Kaspar, if he was to meet a man outside of the villages, how could you find out which village the man was from. The man performing the test says there is only one logical answer. Of course the answer Kaspar gives is not that one answer, but it is a more clever one. The man says he fails the test. Through Kaspar Hauser's observations, we see the flaws and stupidity of our civilization. It is a film that will capture your heart but also infuriate you.
Herzog's use of image is as always incredible, but what stands out is his casting of Bruno S. for the lead. Bruno S. was a street musician who had spent much of his life in and out of mental institutions. The performance that Herzog gets out of Bruno is nothing short of earth shattering. So inspired by this man he had discovered, Herzog would go on to write a screenplay for him in three days which would become the film, Stroszek, a film as revered as The Enigma of Kaspar Hauser.
After being taught reading, writing, speaking, manners, and piano, Kasper becomes somewhat of a legend. It isn't long before important people from all over want to meet him. A big, formal social gathering is held for people to meet this incredible man. Kaspar is to perform a Mozart sonata on the piano for all those attending. It is a crude attempt, as he fails to play it properly. Nonetheless, the music feels strong in my heart.
"Do you hear that screaming all around us? The screaming that man calls silence"
When the film opens up with this quote on screen, along with an image of a wheat field swaying in the wind, without a sound, you realize you are in for a profound cinematic experience. Courtesy of one of the world's best film makers, Werner Herzog (the self proclaimed "soldier of cinema"), The Enigma of Kaspar Hauser is a film that will get you every way a film can. It will grab your heart, engage your mind and enrich your soul.
The story is of Kaspar Hauser, a man who has been raised in isolation, without having ever seen another person. His mysterious keeper, a man who keeps him fed and chained in a make shift prison, eventually lets him out. He teaches Kaspar to stand and walk, and to write. The man then brings Kaspar to a nearby village, and leaves him standing in the middle of town, alone, with a letter firmly grasped in his left hand, the bible and his hat in his right hand. The letter explains who Kaspar is and that he should be put to use as seen fit. He quickly becomes the object of the townspeople's curiosity. In some cases, people become emotionally attached to him, others ridicule him. The more important figures of the town regard him as an interesting scientific specimen and take notes on him as if he is some sort of discovery to be analysed, not a real human being to be understood.
A family takes him into their home and, along with other people, teach him how to live. Eventually Kaspar is introduced to the workings of society. At this point, he is able to adequately articulate himself. He finds so many traditions and rules bizarre. It is here that he begins to make observations and make incredible statements. When seated at a table with an older woman, he asks, "why do the women only cook and clean?". She tells him to ask the men. He finds this social standing unnatural and confusing. How is it that such an uncivilized man seems so much more civil than those raised in society.
When Kaspar is introduced to music, and listens to another man playing piano, he proclaims "the music, it feels strong in my heart". Kaspar is so pure and untainted, it is emotionally revelatory. He is the most endearing human subject in all of cinema.
He is told again and again that he is wrong, and must adjust to the society he finds absurd. In most cases, he seems wiser and more thoughtful then the people trying to teach him. One man performs a test of logic on Kaspar. He tells him there are two villages. One made completely of liars, and the other made completely of people who tell only the truth. The man asks Kaspar, if he was to meet a man outside of the villages, how could you find out which village the man was from. The man performing the test says there is only one logical answer. Of course the answer Kaspar gives is not that one answer, but it is a more clever one. The man says he fails the test. Through Kaspar Hauser's observations, we see the flaws and stupidity of our civilization. It is a film that will capture your heart but also infuriate you.
Herzog's use of image is as always incredible, but what stands out is his casting of Bruno S. for the lead. Bruno S. was a street musician who had spent much of his life in and out of mental institutions. The performance that Herzog gets out of Bruno is nothing short of earth shattering. So inspired by this man he had discovered, Herzog would go on to write a screenplay for him in three days which would become the film, Stroszek, a film as revered as The Enigma of Kaspar Hauser.
After being taught reading, writing, speaking, manners, and piano, Kasper becomes somewhat of a legend. It isn't long before important people from all over want to meet him. A big, formal social gathering is held for people to meet this incredible man. Kaspar is to perform a Mozart sonata on the piano for all those attending. It is a crude attempt, as he fails to play it properly. Nonetheless, the music feels strong in my heart.
February 14, 2009
The Bronze. 2008 Academy Award Hopes and Predictions
It's Oscar time and Parker and I have made some predictions. We are including both what we think will win and what we hope to win.
Best Documentary, Features
The Betrayal - Nerakhoon
Encounters at the End of the World
The Garden
Man on Wire
Trouble the Water
Adam's Take.
Heart-
My heart definitely goes for Encounters, one of my favourite films of the year, that just narrowly missed out on making my top 10 list. Herzog's documentaries continue to be one of the most consistent sources of invaluable insight and profound cinematic poetry.
Head-
My head says Man on Wire. It was one of the most well recieved films of the year, and the mere fact it onvolves the Twin Towers will capture the imaginations of American Oscar voters. Plus Mr. Oscar never show no love to Herzog.
Parker's Take.
Heart-
My Heart also goes out to Herzog's latest masterpiece, but I believe it is too beautiful for most people to appreciate and therefore take home the little gold man.
Head-
Man On Wire will almost certainly win this category to mind, as it is a great movie all about the indomitability of the human spirit, which the Academy will eat up.
Best Foreign Language Film of the Year
Der Baader Meinhof Komplex
Entre Les Murs
Revanche
Okuribtio
Val Im Bashir
Adam's Take.
Heart-
My pick is Entre Les Murs, one of my top ten films of 2008, and a true human masterpiece.
Head-
My head says Val Im Bashir (or "Waltz with Bashir"), as it is an animated film which did not recieve a nom in that category, thus Oscar voters can kill two birds with one stone. And they loves them some bird killin'.
Parker's Take.
Heart-
Entre Les Murs captured the different levels of interactions that happen in school in a way that no movie before has, making it my favourite for this category.
Head-
It will recieve some tough competition, but I still think Entre Les Murs will take it in the end.
Best Animated Feature Film of the Year
Bolt
Kung Fu Panda
Wall-e
Adam's Take.
Heart-
Wall-E owns most movies of 2008, let alone other animated features.
Head-
Wall-E is an absolute shoe-in. But then again, Benjamin Button was nominated for best picture. Anything can happen.
Parker's Take.
Heart-
The little robot captured my heart like no other, so I vote Wall-E.
Head-
Wall-E. Straight up.
Best Achievement in Visual Effects
The Curious Case of Benjamin Button
The Dark Knight
Iron Man
Adam's Take
Heart-
Tought one. Both Button and The Dark Knight make subtle use of CGI, which is admirable. But with The Dark Knight, it's nearly undetecable. Which is, to my mind, more impressive.
Head-
Benjamin Button will likely take this one.
Parker's Take.
Heart-
My heart is cast for The Dark Knight, in part because it deserves it and in part because It got shafted for a Best Picture nom.
Head-
Undoubtedly, Benjamin Button will win this and every other category it's nominated for.
Best Achievement in Sound Editing
The Dark Knight
Iron Man
Slumdog Millionaire
Wall-E
Wanted
Adam's Take.
Heart-
Dark Knight, no question. The sound was such an intrinsical part of the film
Head.-
Toss up but I'm going to say The Dark Knight.
Parker's Take.
Heart-
Once again, voting on The Dark Knight.
Head-
I'm Going to stick with my initial reaction and say Dark Knight.
Best Achievement in Sound
The Curious Case of Benjamin Button
The Dark Knight
Slumdog Millionaire
Wall-E
Wanted
Adam's Take.
Heart-
The Dark Knight for aformentioned reasons.
Head-
The Oscar people will love to further confuse the public with the two sound categories by splitting the winnings. Slumdog.
Parker's Take.
Heart-
My Heart goes out to Wall-E on this one.
Head-
It's a bit of a coin toss, but Wall-E will take it in the end.
Best Achivement in Music Written for Motion Pictures, Original Song
Jai Ho (Slumdog Millionaire)
O Saya (Slumdog Millionaire)
Down to Earth (Wall-E)
Adam's Take.
Heart-
Jai Ho is more lively and ultimately more impressive but O Saya has M.I.A. So O Saya it is.
Head-
Jai Ho.
Parker's Take.
Heart-
O Saya; You can't go wrong with an M.I.A. Breakdown.
Head-
I have a sneaky suspicion that "Down to Earth" will sneak out of nowhere to assassinate the others.
Best Achievement in Music Written for Motion Pictures, Original Score
The Curious Case of Benjamin Button
Defiance
Milk
Slumdog Millionaire
Wall-E
Adam's Take.
Heart-
Slumdog by far. The music was so alive and it always set the tone for the film.
Head-
Slumdog. It is the best, but also the score that stands out most.
Parker's Take.
Heart-
Bright and Vibrant, Slumdog Millionaire is an all around and amazing soundtrack.
Head-
Slumdog Millionaire.
Best Achievement in Makeup
The Curious Case of Benjamin Button
The Dark Knight
Hellboy II: The Golden Army
Adam's Take.
Heart-
The Dark Knight. While Benjamin Button is more technically impressive, TDK has the brilliant reinvention of the Joker which is enough for me.
Head-
Benjamin Button will take it.
Parker's Take.
Heart-
The Dark Knight Succeeds on a smaller scale, with impressive details like make up on the Jokers hands to add additional depth to the film.
Head-
Hollywood won't miss the chance to give Benjamin Button Another oscar, even when it is at least deserving in this category.
Best Achievement in Costume Design
Australia
The Curious Case of Benjamin Button
The Duchess
Milk
Revolutionary Road
Adam's Take.
Heart-
Benjamin Button certainly impresses me the most out of the nominees, but I have to wonder how The Dark Knight missed out.
Head-
Benjamin Button most certainly.
Parker's take.
Heart-
More subtle than the other nominees perhaps, but Revolutionary Road captured the feeling of an era in a quiet, impressive way.
Head-
Benjamin Button or The Duchess, but an edge to Benjamin.
Best Achievement in Art Direction
Changeling
The Curious Case of Benjamin Button
The Dark Knight
The Duchess
Revolutionary Road
Adam's Take.
Heart-
The Dark Knight took Chicago and made it Gotham. No film had a more impressive mise-en-scene.
Head-
Benjamin Button will take it, and it is a deserving victor.
Parker's Take.
Heart-
The Dark Knight is most definitely deserving of this award.
Head-
Benjamin Button.
Best Achievement in Editing
The Curious Case of Benjamin Button
The Dark Knight
Forst/Nixon
Milk
Slumdog Millionaire
Adam's Take.
Heart-
The Dark Knight's editing was so unique, and made a huge overall contribution the the feel of the film.
Head-
An extremely tight race bewteen TDK, Slumdog and Button. I'm going to say Slumdog though.
Parker's Take.
Heart-
Slumdog's editing created a feeling of movement that I really enjoyed.
Head-
Slumdog Millionaire.
Best Achievement In Cinematography
Changeling
The Curious Case of Benjamin Button
The Dark Knight
The Reader
Slumdog Millionaire
Adam's Take.
Heart-
The Dark Knight. The cinematography was masterful.
Head-
Tight, but Wally Pfister's work on The Dark Knight was clearly the best and I think the Academy will recognize that.
Parker's Take.
Heart-
The Dark Knight will take it home.
Head-
The Dark Knight, for being amazing.
Best Writing, Screenplay Based on Material Previously Produced or Published
The Curious Case of Benjamin Button - Eric Roth & Robin Swicord
Doubt - John Patrick Shanley
Frost/Nixon - Peter Morgan
The Reader - David Hare
Slumdog Millionaire - Simon Beaufoy
Adam's Take.
Heart-
Certainly not Eric Roth's script, which is devoid of substance. Not Slumdog, as it's the directorial aspects of that film that impress me. It's a toss up between the other 3, and I'll settle on Shanley's adaptation of his play, Doubt.
Head-
Slumdog. Happy endings, yay!
Parker's Take.
Heart-
I'll take Doubt, not because it's great, but because it's the best choice.
Head-
For giving the world something it has already seen, Eric Roth for his work on Benjamin Button.
Best Writing, Screenplay Written Directly for the Screen
Frozen River - Courtney Hunt
Happy-Go-Lucky - Mike Leigh
In Bruges - Martin McDonagh
Milk - Dustin Lance Black
Wall-E - Andrew Stanton & Pete Docter & Jim Reardon
Adam's Take.
Heart-
McDonagh's immensely rich masterpiece of a script for In Bruges by far.
Head-
Frozen River is too small. Happy-Go-Lucky and In Bruges are too not American. Wall-E has a shot, but I think this is how the Academy will honour Milk.
Parker's Take.
Heart-
In Bruges was my pick for best movie of the year, so I'll stick with it here.
Head-
Milk will probably have this in the end.
Best Achievement in Directing
Danny Boyle for Slumdog Millionaire
Stephen Daldry for The Reader
David Fincher for The Curious Case of Benjamin Button
Ron Howard for Frost/Nixon
Gus Van Sant for Milk
Adam's Take.
Heart-
With Milk, Gus Van Sant managed to find a happy medium between his more artsy work and his Hollywood outings. His use of stock footage was brilliant as well.
Head-
Danny Boyle's excellent work in Slumdog will be rewarded deservedly.
Parker's Take.
Heart-
Danny Boyle's energetic directing captured my attention from the begining to the end.
Head-
Slumdog Millionaire will take the gold.
Best Performance by an Actress in a Supporting Role
Amy Adams for Doubt
Penelope Cruz for Vicky Cristina Barcelona
Viola Davis for Doubt
Taraji P. Henson for The Curious Case of Benjamin Button
Marisa Tomei for The Wrestler
Adam's Take.
Heart-
It's 50/50 between Adams and Tomei for me. If I have to choose, I'll say Tomei, because she contributed to a better film.
Head-
Viola Davis created an incredible scene in Doubt, and I think it earned her an Oscar.
Parker's Take.
Heart-
I have to go for Marisa Tomei for creating an amazing character.
Head-
I do believe Viola Davis has it on the strength of her one scene.
Best Performance by an Actor in a Supporting Role
Josh Brolin for Milk
Robert Downey Jr. for Tropic Thunder
Philip Seymour Hoffman for Doubt
Heath Ledger for The Dark Knight
Michael Shannon for Revolutionary Road
Adam's Take.
Heart-
It's great to see Shannon nominated but there is absolutely no contest here. Heath Ledger's iconic master performance
Head-
Shoe-in for the late Ledger. If any other nominee won they would be ashamed to take the stage.
Parker's Take.
Heart-
Heath Ledger in no contest.
Head-
Heath Ledger, for one of the best performances I have ever seen.
Best Performance by an Actress in a Leading Role
Anne Hathaway for Rachel Getting Married
Angelina Jolie for Changeling
Melissa Leo for Frozen River
Meryl Streep for Doubt
Kate Winslet for The Reader
Adam's Take.
Heart-
Had Kate Winslet been nominated for Revolutionary Road, it would be an easy pick. It's tight between Hathaway and Winslet, but Winslet was the overall best actress of 2008.
Head-
Kate Winslet. Nazis.
Parker's Take.
Heart-
Anne Hathaway in one of my favorite performances of the year and of the past few as well.
Head-
Unfourtunately, Hathaway will lose out to Kate Winslet. Weddings just can't compare to naked Nazis.
Best Performance by an Actor in a Leading Role
Richard Jenkins for The Visitor
Frank Langella for Frost/Nixon
Sean Penn for Milk
Brad Pitt for The Curious Case of Benjamin Button
Mickey Rourke for The Wrestler
Adam's Take.
Heart-
Mickey Rourke, no question. Penn was brilliant though.
Head-
3 way toss up between Penn/Pitt/Rourke. I'm counting on the Academy to make the right choice. Mickey Rourke.
Parker's Take.
Heart-
I'm all for Mickey Rourke. Brilliant.
Head-
Sean Penn for a deservedly amazing job.
Best Motion Picture of the Year
The Curious Case of Benjamin Button
Frost/Nixon
Milk
The Reader
Slumdog Millionaire
Adam's Take.
Heart-
This dissapointing group of nominees is nowhere near being a representation of 2008's best films. Only one movie here was on my top ten list and thats Milk. However, there are 7 films I'd rather win.
Head-
Slumdog Millionaire. Happy ending. Classic love story. Undeniably fun. Undeserved.
Parker's Take.
Heart-
Not the years best, but I'll take Milk over the others any day,
Head-
Slumdog Millionaire. The perceived underdog will win.
Prepare yourselves for Wolverine's no holds-barred Oscar night on Feb. 22
The Betrayal - Nerakhoon
Encounters at the End of the World
The Garden
Man on Wire
Trouble the Water
Adam's Take.
Heart-
My heart definitely goes for Encounters, one of my favourite films of the year, that just narrowly missed out on making my top 10 list. Herzog's documentaries continue to be one of the most consistent sources of invaluable insight and profound cinematic poetry.
Head-
My head says Man on Wire. It was one of the most well recieved films of the year, and the mere fact it onvolves the Twin Towers will capture the imaginations of American Oscar voters. Plus Mr. Oscar never show no love to Herzog.
Heart-
My Heart also goes out to Herzog's latest masterpiece, but I believe it is too beautiful for most people to appreciate and therefore take home the little gold man.
Head-
Man On Wire will almost certainly win this category to mind, as it is a great movie all about the indomitability of the human spirit, which the Academy will eat up.
Best Foreign Language Film of the Year
Der Baader Meinhof Komplex
Entre Les Murs
Revanche
Okuribtio
Val Im Bashir
Adam's Take.
Heart-
My pick is Entre Les Murs, one of my top ten films of 2008, and a true human masterpiece.
Head-
My head says Val Im Bashir (or "Waltz with Bashir"), as it is an animated film which did not recieve a nom in that category, thus Oscar voters can kill two birds with one stone. And they loves them some bird killin'.
Parker's Take.
Heart-
Entre Les Murs captured the different levels of interactions that happen in school in a way that no movie before has, making it my favourite for this category.
Head-
It will recieve some tough competition, but I still think Entre Les Murs will take it in the end.
Best Animated Feature Film of the Year
Bolt
Kung Fu Panda
Wall-e
Adam's Take.
Heart-
Wall-E owns most movies of 2008, let alone other animated features.
Head-
Wall-E is an absolute shoe-in. But then again, Benjamin Button was nominated for best picture. Anything can happen.
Parker's Take.
Heart-
The little robot captured my heart like no other, so I vote Wall-E.
Head-
Wall-E. Straight up.
Best Achievement in Visual Effects
The Curious Case of Benjamin Button
The Dark Knight
Iron Man
Adam's Take
Heart-
Tought one. Both Button and The Dark Knight make subtle use of CGI, which is admirable. But with The Dark Knight, it's nearly undetecable. Which is, to my mind, more impressive.
Head-
Benjamin Button will likely take this one.
Parker's Take.
Heart-
My heart is cast for The Dark Knight, in part because it deserves it and in part because It got shafted for a Best Picture nom.
Head-
Undoubtedly, Benjamin Button will win this and every other category it's nominated for.
Best Achievement in Sound Editing
The Dark Knight
Iron Man
Slumdog Millionaire
Wall-E
Wanted
Adam's Take.
Heart-
Dark Knight, no question. The sound was such an intrinsical part of the film
Head.-
Toss up but I'm going to say The Dark Knight.
Parker's Take.
Heart-
Once again, voting on The Dark Knight.
Head-
I'm Going to stick with my initial reaction and say Dark Knight.
Best Achievement in Sound
The Curious Case of Benjamin Button
The Dark Knight
Slumdog Millionaire
Wall-E
Wanted
Adam's Take.
Heart-
The Dark Knight for aformentioned reasons.
Head-
The Oscar people will love to further confuse the public with the two sound categories by splitting the winnings. Slumdog.
Parker's Take.
Heart-
My Heart goes out to Wall-E on this one.
Head-
It's a bit of a coin toss, but Wall-E will take it in the end.
Best Achivement in Music Written for Motion Pictures, Original Song
Jai Ho (Slumdog Millionaire)
O Saya (Slumdog Millionaire)
Down to Earth (Wall-E)
Adam's Take.
Heart-
Jai Ho is more lively and ultimately more impressive but O Saya has M.I.A. So O Saya it is.
Head-
Jai Ho.
Parker's Take.
Heart-
O Saya; You can't go wrong with an M.I.A. Breakdown.
Head-
I have a sneaky suspicion that "Down to Earth" will sneak out of nowhere to assassinate the others.
The Curious Case of Benjamin Button
Defiance
Milk
Slumdog Millionaire
Wall-E
Adam's Take.
Heart-
Slumdog by far. The music was so alive and it always set the tone for the film.
Head-
Slumdog. It is the best, but also the score that stands out most.
Parker's Take.
Heart-
Bright and Vibrant, Slumdog Millionaire is an all around and amazing soundtrack.
Head-
Slumdog Millionaire.
Best Achievement in Makeup
The Curious Case of Benjamin Button
The Dark Knight
Hellboy II: The Golden Army
Adam's Take.
Heart-
The Dark Knight. While Benjamin Button is more technically impressive, TDK has the brilliant reinvention of the Joker which is enough for me.
Head-
Benjamin Button will take it.
Parker's Take.
Heart-
The Dark Knight Succeeds on a smaller scale, with impressive details like make up on the Jokers hands to add additional depth to the film.
Head-
Hollywood won't miss the chance to give Benjamin Button Another oscar, even when it is at least deserving in this category.
Best Achievement in Costume Design
Australia
The Curious Case of Benjamin Button
The Duchess
Milk
Revolutionary Road
Adam's Take.
Heart-
Benjamin Button certainly impresses me the most out of the nominees, but I have to wonder how The Dark Knight missed out.
Head-
Benjamin Button most certainly.
Parker's take.
Heart-
More subtle than the other nominees perhaps, but Revolutionary Road captured the feeling of an era in a quiet, impressive way.
Head-
Benjamin Button or The Duchess, but an edge to Benjamin.
Best Achievement in Art Direction
Changeling
The Curious Case of Benjamin Button
The Dark Knight
The Duchess
Revolutionary Road
Adam's Take.
Heart-
The Dark Knight took Chicago and made it Gotham. No film had a more impressive mise-en-scene.
Head-
Benjamin Button will take it, and it is a deserving victor.
Parker's Take.
Heart-
The Dark Knight is most definitely deserving of this award.
Head-
Benjamin Button.
Best Achievement in Editing
The Curious Case of Benjamin Button
The Dark Knight
Forst/Nixon
Milk
Slumdog Millionaire
Adam's Take.
Heart-
The Dark Knight's editing was so unique, and made a huge overall contribution the the feel of the film.
Head-
An extremely tight race bewteen TDK, Slumdog and Button. I'm going to say Slumdog though.
Parker's Take.
Heart-
Slumdog's editing created a feeling of movement that I really enjoyed.
Head-
Slumdog Millionaire.
Best Achievement In Cinematography
Changeling
The Curious Case of Benjamin Button
The Dark Knight
The Reader
Slumdog Millionaire
Adam's Take.
Heart-
The Dark Knight. The cinematography was masterful.
Head-
Tight, but Wally Pfister's work on The Dark Knight was clearly the best and I think the Academy will recognize that.
Parker's Take.
Heart-
The Dark Knight will take it home.
Head-
The Dark Knight, for being amazing.
Best Writing, Screenplay Based on Material Previously Produced or Published
The Curious Case of Benjamin Button - Eric Roth & Robin Swicord
Doubt - John Patrick Shanley
Frost/Nixon - Peter Morgan
The Reader - David Hare
Slumdog Millionaire - Simon Beaufoy
Adam's Take.
Heart-
Certainly not Eric Roth's script, which is devoid of substance. Not Slumdog, as it's the directorial aspects of that film that impress me. It's a toss up between the other 3, and I'll settle on Shanley's adaptation of his play, Doubt.
Head-
Slumdog. Happy endings, yay!
Parker's Take.
Heart-
I'll take Doubt, not because it's great, but because it's the best choice.
Head-
For giving the world something it has already seen, Eric Roth for his work on Benjamin Button.
Best Writing, Screenplay Written Directly for the Screen
Frozen River - Courtney Hunt
Happy-Go-Lucky - Mike Leigh
In Bruges - Martin McDonagh
Milk - Dustin Lance Black
Wall-E - Andrew Stanton & Pete Docter & Jim Reardon
Adam's Take.
Heart-
McDonagh's immensely rich masterpiece of a script for In Bruges by far.
Head-
Frozen River is too small. Happy-Go-Lucky and In Bruges are too not American. Wall-E has a shot, but I think this is how the Academy will honour Milk.
Parker's Take.
Heart-
In Bruges was my pick for best movie of the year, so I'll stick with it here.
Head-
Milk will probably have this in the end.
Best Achievement in Directing
Danny Boyle for Slumdog Millionaire
Stephen Daldry for The Reader
David Fincher for The Curious Case of Benjamin Button
Ron Howard for Frost/Nixon
Gus Van Sant for Milk
Adam's Take.
Heart-
With Milk, Gus Van Sant managed to find a happy medium between his more artsy work and his Hollywood outings. His use of stock footage was brilliant as well.
Head-
Danny Boyle's excellent work in Slumdog will be rewarded deservedly.
Parker's Take.
Heart-
Danny Boyle's energetic directing captured my attention from the begining to the end.
Head-
Slumdog Millionaire will take the gold.
Best Performance by an Actress in a Supporting Role
Amy Adams for Doubt
Penelope Cruz for Vicky Cristina Barcelona
Viola Davis for Doubt
Taraji P. Henson for The Curious Case of Benjamin Button
Marisa Tomei for The Wrestler
Adam's Take.
Heart-
It's 50/50 between Adams and Tomei for me. If I have to choose, I'll say Tomei, because she contributed to a better film.
Head-
Viola Davis created an incredible scene in Doubt, and I think it earned her an Oscar.
Parker's Take.
Heart-
I have to go for Marisa Tomei for creating an amazing character.
Head-
I do believe Viola Davis has it on the strength of her one scene.
Best Performance by an Actor in a Supporting Role
Josh Brolin for Milk
Robert Downey Jr. for Tropic Thunder
Philip Seymour Hoffman for Doubt
Heath Ledger for The Dark Knight
Michael Shannon for Revolutionary Road
Adam's Take.
Heart-
It's great to see Shannon nominated but there is absolutely no contest here. Heath Ledger's iconic master performance
Head-
Shoe-in for the late Ledger. If any other nominee won they would be ashamed to take the stage.
Parker's Take.
Heart-
Heath Ledger in no contest.
Head-
Heath Ledger, for one of the best performances I have ever seen.
Best Performance by an Actress in a Leading Role
Anne Hathaway for Rachel Getting Married
Angelina Jolie for Changeling
Melissa Leo for Frozen River
Meryl Streep for Doubt
Kate Winslet for The Reader
Adam's Take.
Heart-
Had Kate Winslet been nominated for Revolutionary Road, it would be an easy pick. It's tight between Hathaway and Winslet, but Winslet was the overall best actress of 2008.
Head-
Kate Winslet. Nazis.
Parker's Take.
Heart-
Anne Hathaway in one of my favorite performances of the year and of the past few as well.
Head-
Unfourtunately, Hathaway will lose out to Kate Winslet. Weddings just can't compare to naked Nazis.
Best Performance by an Actor in a Leading Role
Richard Jenkins for The Visitor
Frank Langella for Frost/Nixon
Sean Penn for Milk
Brad Pitt for The Curious Case of Benjamin Button
Mickey Rourke for The Wrestler
Adam's Take.
Heart-
Mickey Rourke, no question. Penn was brilliant though.
Head-
3 way toss up between Penn/Pitt/Rourke. I'm counting on the Academy to make the right choice. Mickey Rourke.
Parker's Take.
Heart-
I'm all for Mickey Rourke. Brilliant.
Head-
Sean Penn for a deservedly amazing job.
Best Motion Picture of the Year
The Curious Case of Benjamin Button
Frost/Nixon
Milk
The Reader
Slumdog Millionaire
Adam's Take.
Heart-
This dissapointing group of nominees is nowhere near being a representation of 2008's best films. Only one movie here was on my top ten list and thats Milk. However, there are 7 films I'd rather win.
Head-
Slumdog Millionaire. Happy ending. Classic love story. Undeniably fun. Undeserved.
Parker's Take.
Heart-
Not the years best, but I'll take Milk over the others any day,
Head-
Slumdog Millionaire. The perceived underdog will win.
Prepare yourselves for Wolverine's no holds-barred Oscar night on Feb. 22
2008 Top 10 - Parker's Take
Well, after a very prolonged absence from posting on The Bronze I have returned with a vengeance. For the first time since the inception of this blog I have decided to post a list of the best movies of the year: Parker style. So without further written ado, I present my choices for the ten best 2008 had to offer.
Top Ten Films of 2008
- from 10-1, with 1 being the best
10. Forgetting Sarah Marshall
9. The Fall
8. Slumdog Millionaire
7. Rachel Getting Married
6. Milk
5. Wall-E
4. The Wrestler
3. Synecdoche, New York
2. The Dark Knight
1. In Bruges
- from 10-1, with 1 being the best
10. Forgetting Sarah Marshall
9. The Fall
8. Slumdog Millionaire
7. Rachel Getting Married
6. Milk
5. Wall-E
4. The Wrestler
3. Synecdoche, New York
2. The Dark Knight
1. In Bruges
February 12, 2009
The Auteurs "Sight & Sound" Poll
I've decided to bring some attention to a little project I have in the works.
Modeled after the famous "Sight & Sound" poll conducted every 10 years since 1952, I have begun a poll on the forums on theauteurs.com
The way the original poll works, 100 critics submit a list of, what is in their opinion, the 10 greatest films of all time. In the last 2 polls (1992 & 2002), Sight & Sound has also made a secondary list using the same format but with 100 directors. So, I thought it was only fair that non-professionals had their say. The online community on The Auteurs, is, to my knowledge, the most diverse and intelligent group of film lovers on the internet. There are users from all over the world, of every age, each with different but respectable and refined taste. It is my belief that the collective opinions of the users at The Auteurs is, at least almost, as trustable and important as the critics or the film makers. I am waiting in anticipation to see the final product, which I'm sure will be as quotable a top 10 as any.
As of right now there are already 78 registered voters, with 28 top 10 lists submitted. Voting closes on the first of March.
I am accepting registration from any users on the site, so if you are interested, sign up at theauteurs.com (which you should do anyways, as it is a brilliant site), and then go to the thread I created in the forums, and follow the instructions from there.
The way the original poll works, 100 critics submit a list of, what is in their opinion, the 10 greatest films of all time. In the last 2 polls (1992 & 2002), Sight & Sound has also made a secondary list using the same format but with 100 directors. So, I thought it was only fair that non-professionals had their say. The online community on The Auteurs, is, to my knowledge, the most diverse and intelligent group of film lovers on the internet. There are users from all over the world, of every age, each with different but respectable and refined taste. It is my belief that the collective opinions of the users at The Auteurs is, at least almost, as trustable and important as the critics or the film makers. I am waiting in anticipation to see the final product, which I'm sure will be as quotable a top 10 as any.
As of right now there are already 78 registered voters, with 28 top 10 lists submitted. Voting closes on the first of March.
I am accepting registration from any users on the site, so if you are interested, sign up at theauteurs.com (which you should do anyways, as it is a brilliant site), and then go to the thread I created in the forums, and follow the instructions from there.
January 24, 2009
The Curious Case of Forrest Gump
It appears the video I posted has been taken down. I apologize.
You can find the same video here
The Curious Case of Forrest Gump - watch more funny videos
You can find the same video here
The Curious Case of Forrest Gump - watch more funny videos
January 22, 2009
Oscar Disappointment
Eric Roth has convinced the Academy once again that he has written a story with actual content, that is actually substantial.
Only one film from my top ten list was nominated for best picture.
The best female performance of the year wasn't nominated.
Bill Irwin's endearing turn as a loving father in Rachel Getting Married was forgotten, although I'm sure the voting was tight.
The best original song of the year, that actually won at the Golden Globes, is not even nominated.
Kate Winslet's inferior performance in The Reader is nominated, rather than her work in Revolutionary Road. I guess it's because The Reader has Nazis.
Leonardo DiCaprio's career best was not honoured.
The Dark Knight is pretty much snubbed. I thought it to be a natural step for the Oscars to allow a comic book film to be nominated, after giving Lord of the Rings so many awards.
There are things for me to be happy about, however.
In Bruges is nominated for best screenplay.
The brilliant french film Entre Les Murs is nominated for best foreign film.
I will get to see Mickey Rourke win best actor.
Heath Ledger will win, although who knows if it's for the right reasons anymore. Doesn't matter because he deserves it.
Richard Jenkins is nominated.
Michael Shannon is nominated.
The documentary Encounters at the End of the World, which was about 2 spots short from making my top ten, is nominated.
Anyways, there are some bright points, but overall I'm disappointed. In a big way. Especially after the Oscars were so satisfying the last few years. Now I get to live through one of the weaker Best Picture categories I can recall.
Here is a complete list of noms:
Only one film from my top ten list was nominated for best picture.
The best female performance of the year wasn't nominated.
Bill Irwin's endearing turn as a loving father in Rachel Getting Married was forgotten, although I'm sure the voting was tight.
The best original song of the year, that actually won at the Golden Globes, is not even nominated.
Kate Winslet's inferior performance in The Reader is nominated, rather than her work in Revolutionary Road. I guess it's because The Reader has Nazis.
Leonardo DiCaprio's career best was not honoured.
The Dark Knight is pretty much snubbed. I thought it to be a natural step for the Oscars to allow a comic book film to be nominated, after giving Lord of the Rings so many awards.
There are things for me to be happy about, however.
In Bruges is nominated for best screenplay.
The brilliant french film Entre Les Murs is nominated for best foreign film.
I will get to see Mickey Rourke win best actor.
Heath Ledger will win, although who knows if it's for the right reasons anymore. Doesn't matter because he deserves it.
Richard Jenkins is nominated.
Michael Shannon is nominated.
The documentary Encounters at the End of the World, which was about 2 spots short from making my top ten, is nominated.
Anyways, there are some bright points, but overall I'm disappointed. In a big way. Especially after the Oscars were so satisfying the last few years. Now I get to live through one of the weaker Best Picture categories I can recall.
Here is a complete list of noms:
Best Motion Picture of the Year
Nominees:
Frost/Nixon (2008): Brian Grazer, Ron Howard, Eric Fellner
Milk (2008): Bruce Cohen, Dan Jinks
The Reader (2008): Nominees to be determined
Slumdog Millionaire (2008): Christian Colson
Best Performance by an Actor in a Leading Role
Nominees:
Richard Jenkins for The Visitor (2007/I)
Frank Langella for Frost/Nixon (2008)
Brad Pitt for The Curious Case of Benjamin Button (2008)
Mickey Rourke for The Wrestler (2008)
Best Performance by an Actress in a Leading Role
Nominees:
Anne Hathaway for Rachel Getting Married (2008)
Angelina Jolie for Changeling (2008)
Melissa Leo for Frozen River (2008)
Meryl Streep for Doubt (2008/I)
Kate Winslet for The Reader (2008)
Best Performance by an Actor in a Supporting Role
Nominees:
Josh Brolin for Milk (2008)
Robert Downey Jr. for Tropic Thunder (2008)
Philip Seymour Hoffman for Doubt (2008/I)
Heath Ledger for The Dark Knight (2008)
Michael Shannon for Revolutionary Road (2008)
Best Performance by an Actress in a Supporting Role
Nominees:
Penélope Cruz for Vicky Cristina Barcelona (2008)
Viola Davis for Doubt (2008/I)
Marisa Tomei for The Wrestler (2008)
Best Achievement in Directing
Nominees:
Danny Boyle for Slumdog Millionaire (2008)
Stephen Daldry for The Reader (2008)
David Fincher for The Curious Case of Benjamin Button (2008)
Ron Howard for Frost/Nixon (2008)
Gus Van Sant for Milk (2008)
Best Writing, Screenplay Written Directly for the Screen
Nominees:
Frozen River (2008): Courtney Hunt
Happy-Go-Lucky (2008): Mike Leigh
In Bruges (2008): Martin McDonagh
Milk (2008): Dustin Lance Black
WALL·E (2008): Andrew Stanton, Pete Docter, Jim Reardon
Best Writing, Screenplay Based on Material Previously Produced or Published
Nominees:
Doubt (2008/I): John Patrick Shanley
Frost/Nixon (2008): Peter Morgan
The Reader (2008): David Hare
Slumdog Millionaire (2008): Simon Beaufoy
Best Achievement in Cinematography
Nominees:
Changeling (2008): Tom Stern
The Dark Knight (2008): Wally Pfister
The Reader (2008): Roger Deakins, Chris Menges
Best Achievement in Editing
Nominees:
The Dark Knight (2008): Lee Smith
Frost/Nixon (2008): Daniel P. Hanley, Mike Hill
Milk (2008): Elliot Graham
Slumdog Millionaire (2008): Chris Dickens
Best Achievement in Art Direction
Nominees:
Changeling (2008): James J. Murakami, Gary Fettis
The Dark Knight (2008): Nathan Crowley, Peter Lando
The Duchess (2008): Michael Carlin, Rebecca Alleway
Revolutionary Road (2008): Kristi Zea, Debra Schutt
Best Achievement in Costume Design
Nominees:
Australia (2008): Catherine Martin
The Duchess (2008): Michael O'Connor
Milk (2008): Danny Glicker
Revolutionary Road (2008): Albert Wolsky
Best Achievement in Makeup
Nominees:
Best Achievement in Music Written for Motion Pictures, Original Score
Nominees:
Defiance (2008): James Newton Howard
Milk (2008): Danny Elfman
Slumdog Millionaire (2008): A.R. Rahman
WALL·E (2008): Thomas Newman
Best Achievement in Music Written for Motion Pictures, Original Song
Nominees:
Slumdog Millionaire (2008): A.R. Rahman, Gulzar("Jai Ho")
Slumdog Millionaire (2008): A.R. Rahman, Maya Arulpragasam("O Saya")
WALL·E (2008): Peter Gabriel, Thomas Newman("Down to Earth")
Best Achievement in Sound
Nominees:
The Curious Case of Benjamin Button (2008): David Parker, Michael Semanick, Ren Klyce, Mark Weingarten
The Dark Knight (2008): Ed Novick, Lora Hirschberg, Gary Rizzo
WALL·E (2008): Tom Myers, Michael Semanick, Ben Burtt
Wanted (2008): Chris Jenkins, Frank A. Montaño, Petr Forejt
Best Achievement in Sound Editing
Nominees:
The Dark Knight (2008): Richard King
Iron Man (2008): Frank E. Eulner, Christopher Boyes
Slumdog Millionaire (2008): Tom Sayers
WALL·E (2008): Ben Burtt, Matthew Wood
Wanted (2008): Wylie Stateman
Best Achievement in Visual Effects
Nominees:
Iron Man (2008): John Nelson, Ben Snow, Daniel Sudick, Shane Mahan
Best Animated Feature Film of the Year
Nominees:
Bolt (2008): Chris Williams, Byron Howard
Kung Fu Panda (2008): John Stevenson, Mark Osborne
WALL·E (2008): Andrew Stanton
Best Foreign Language Film of the Year
Nominees:
Der Baader Meinhof Komplex (2008)(Germany)
Entre les murs (2008)(France)
Revanche (2008)(Austria)
Okuribito (2008)(Japan)
Vals Im Bashir (2008)(Israel)
Best Documentary, Features
Nominees:
The Garden (2008/I): Scott Hamilton Kennedy
Man on Wire (2008): James Marsh, Simon Chinn
Trouble the Water (2008): Tia Lessin, Carl Deal
Best Documentary, Short Subjects
Nominees:
The Conscience of Nhem En: Steven Okazaki
The Final Inch: Irene Taylor Brodsky, Tom Grant
Smile Pinki: Megan Mylan
The Witness from the Balcony of Room 306: Adam Pertofsky, Margaret Hyde
Best Short Film, Animated
Nominees:
La Maison en Petits Cubes: Kunio Kato
Oktapodi (2007): Emud Mokhberi, Thierry Marchand
Presto (2008): Doug Sweetland
This Way Up (2008): Alan Smith, Adam Foulkes
Best Short Film, Live Action
Nominees:
Auf der Strecke (2007): Reto Caffi
New Boy (2007): Steph Green, Tamara Anghie
Grisen (2008): Tivi Magnusson, Dorthe Warnø Høgh
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