Leo’s to Lose

Early reviews for Clint Eastwood’s J. Edgar have been tepid at best. Not too surprising considering Eastwood, outside of a few recent efforts, has been churning out increasingly difficult, if often uneven, work.

Scott Feinberg at Hollywood Reporter said, “My gut feeling was that I had just seen a very good film — but not one that is a slam-dunk for a best picture nomination or anything else (though I would be pretty surprised if, at the very least, DiCaprio doesn’t make it into the best actor field and the film’s showy makeup work isn’t recognized).”

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REVIEW: Martha Marcy May Marlene

Centuries of storytelling have standardized our expectations towards the realm of realism. This doesn’t presume naturalism or raw gritty life as we know it, surely there are thousands of fantasy pieces out there. But the moment to moment standard our minds presume is that what we are seeing is actually what really occurs. There are rare examples of storytelling that play on our perception, using their literal fabric to jolt us out of our viewing comfort into the subjective world of the narrative. It’s in this tradition that Sean Durkin’s Martha Marcy May Marlene takes it’s lead. The lead character has multitudes of emotions; only we never actually get to hear her side of the story. Instead, Durkin offers only glimpses, occasionally without any pretense to what world of her mind we’ve entered.

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Into the Abyss Trailer

Early word on Herzog’s new film, Into the Abyss, is that it’s earth shattering in it’s human, straight-forward emotion. This moving trailer makes the film look like a must-see.

Not sure if this one will be eligible for the doc race but if so this might be one to sneak in. Herzog has never been recognized by the Academy. His fiction work has always proved a bit too obtuse, personal, or challenging. His now prolific non-fiction career may be his best chance. Here’s to hoping.

 

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UPDATED: Best Documentary Feature Predictions

Current Predictions (10-27-11):
The Interrupters
Tabloid
Project Nim
Cave of Forgotten Dreams
Pina

Best Documentary Notes: The recent Cinema Eye Non-Fiction nominations along with news that George Harrison: Living in a Material world will likely not be eligible, shakes this category up quite a bit. As I’ve said, Best Documentary is a bit of a moot point until the Academy unveils it’s 15 film shortlist. It’s a fun thing to try and predict which of the many great non-fiction pieces will even vie for contention though. So many of these films are unseen and this category new approach keeps it more fresh than most.

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Shame goes NC-17

Certainly not the most surprising news, Steve McQueen’s upcoming film, Shame, has been slapped with an NC-17 rating by the MPAA. Now that I’ve seen Tomas Alfreson’s masterful Tinker, Tailor, Soldier, Spy, Shame is the upcoming release that makes me the most giddy. I suspect the rating will not hurt the film too much as anybody anticipating the film was probably going to see it regardless. As a result, Fox Searchlight is trying on a new strategy of facing the rating head on as opposed to appealing it like the Weinstein’s did with Blue Valentine last year.

Fox Searchlight president Stephen Gilula issued this statement about the ruling:

“I think NC-17 is a badge of honor, not a scarlet letter. We believe it is time for the rating to become usable in a serious manner. The sheer talent of the actors and the vision of the filmmaker are extraordinary. It’s not a film that everyone will take easily, but it certainly breaks through the clutter and is distinctive and original. It’s a game changer.”

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UPDATED: Best Director Predictions

Current Predictions 10-25-11:
Alexander Payne, The Descendants
Terrance Malick, The Tree of Life
Tomas Alfredson, Tinker, Tailor, Soldier, Spy
Bennett Miller, Moneyball
Michel Hazanavicius, The Artist

Best Director Notes: While it’s hard to give up on Nicolas Winding Refn, I have to concede that his appearance on the Best Director list would be a surprise. The past month has brought continued buzz for The Artist and The Descendants. Buzz for Moneyball and Tinker, Tailor, Soldier, Spy has weakened a bit. Then there’s Woody Allen and Terrance Malick who seem to be continuously picking up steam as Oscar talk starts heating up.

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New Hugo Trailer

When studios devise a marketing plan  they have the highest profitability in mind. This means they concocting a trailer that will hopefully attract the most butts to seats even if hiding essential elements of the actual story. I had a feeling  the first Hugo trailer was hiding such elements. The backlash for the trailer was pretty extreme, dampening previous excitement around it. Thus, a new trailer would hopefully hold the key to the actual world Scorsese was inevitably sculpting.

Yesterday that trailer dropped and, sadly, it’s much of the same. In fact, without the more cliche thrilling moments that graced the earlier piece, this one feels flatter. About one minute in,  I had already watched more than I cared to. I fear saying that Scorsese may have made a clunker but the first two previews do little to calm my nerves.

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Zimmer Removes Himself from Oscar Race

Strange news on the Oscar front today. Composer Hans Zimmer has taken himself out of eligibility for the Best Original Score Category. He offered this explanation:

As soon as you get nominated, and I don’t care who you are — there are certainly people of better character than me — it all goes crazy… You get the phone call at five o’clock and after that you have to do the interviews and then do the parties and meet all these people and do all these things. It’s disruptive, and I think it would be more interesting to observe it for a year. It does worry me that we have to stay relevant. Times are changing, very rapidly. Usually what I do when things are changing rapidly is stand still and observe.

This certainly shakes up the Original Score race as Zimmer’s inventive work in Rango was an early front runner. I’m also curious how this affects Rango in general as buzz around the film might dampen after this blow. I doubt voters will turn on the film but without Score in the race then Rango really only has Best Animated Film to look forward to. Time will tell.

Here’s a fun little track from the score that will not win on Oscar night:

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GEMS OF 2011: The Interrupters

The Interrupters takes on the nature of violence by following a group of former inner city gang members on what seems like a doomed crusade to stop the fighting in Chicago. An intimate and revealing portrait of people who are reformed but whose need to impart the type of wisdom only they can know has become the beacon of their life’s work. Every interrupter has their own style, some being aggressive while others are nurturing, each believing that violence is a learned behavior that can be overcome. The Interrupters puts “Where violence comes from?” to the test. Do these kids have to live like they do because it’s in their primal nature to survive? Or do these children do what they have been taught to do from a very early age? Director Steve James, whose unmatched Hoop Dreams remains a mesmerizing landmark in non-fiction filmmaking, ventures right to the heart of the problem, often training his camera on the center of battles as they appear on the verge of eruption. A mixture of biting verite footage spawns, almost growing out of the soul of the streets. Like the interrupters themselves, the people in this world  have a respect for the camera, never showing an ounce of aggression to it. This quality feels striking as it forces you to wonder if these people actually want to be seen, if they want these stories heard. The forgotten ones of America who are left for dead by an increasingly blasé mentality that summons “Let the animals get themselves.”

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REVIEW: Page One: Inside the New York Times

The conundrum facing news media is that if one day its entire infrastructure ceases to exist, who would be there to write about the demise? Would media write about its own death? Would another form of journalism have spawned that will gleefully report on the carnage? Page One: Inside the New York Times takes on this topic in the way that the title newspaper has built it’s reputation, with intelligence, honesty and a knowing wink to the amusing nature of it all. Ultimately, the media has always been a giddy rat race.

In David Carr, the media reporter who centers a great deal of the film, the New York Times have a character who’s a throwback to a long dead form of journalism. He’s tough as nails, sharp-tongued and, from the looks of it, not at all Ivy league educated like his new media-versed colleagues. In some ways, Carr sounds like he could be the hard-boiled narrator of Edgar Ulmer’s Detour, under a smoker’s rasp telling it how it is while allowing a little vulnerable glimpse into his soul. The beauty of a character like Carr is that he’s learned that you can’t wear your fears on your sleeve. Yet you can’t get to the point Carr has in a field like journalism without having so much neutral honesty imbued in your fabric that your insecurities inevitably shine through.

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