Makeup Oscar Shortlist

looper

I have no idea how Cloud Atlas missed the cut on this, but as I follow the Oscars for the first time in a serious way, I’m learning that nothing really makes much sense. The list further assures the Academy’s appreciation for Snow White and the Huntsman – a film that might pick up four or five tech nominations. It’s also nice to see Looper included, considering the VFX snub a few weeks ago. My guess now that Cloud Atlas is gone would be: Lincoln, Snow White, and Men in Black 3.

“Hitchcock”
“The Hobbit: An Unexpected Journey”
“Les Misérables”
“Lincoln”
“Looper”
“Men in Black 3”
“Snow White and the Huntsman”

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UPDATED: Oscars 2013 Predictions

the-master07

With the SAG nominations announced and the Golden Globes in place, the dust has settled on the majority of major precursor awards. While this season’s “Oscar movies” aren’t the best slate we’ve seen, they do offer a diverse group. Most interesting, however, might be the competition itself. Without clear winners in any of the major categories (except perhaps Daniel Day-Lewis) this year is shaping up to present one of the better telecasts in the last half-decade.

There was some flip-flopping early on, but now it looks like what we expected all along. Argo, Zero Dark Thirty, or Lincoln will lead a pack of Best Picture nominees that will include Les Miz, Life of Pi, and Silver Linings Playbook. My gut feeling that Django Unchained will get in is starting to look like a good one. I’m still also on board for Moonrise Kingdom getting enough support from multiple types of voters to sneak in. Beasts of the Southern Wild looks like this year’s Winter’s Bone. It’s in. As for the winner? General wisdom says Zero Dark Thirty, seeing as it’s pulling down everything right now. However, I’m sticking with Lincoln. Spielberg’s film still has the generated “zeitgeist” on its side, along with all the pedigree to keep it living in people’s minds for virtually every category. Now that I think of it, Lincoln has a chance to be one of the most – is not the most – nominated films ever.

The acting categories have taken on an interesting dynamic, with none looking all that clear-cut. The Best Actress race is still wide open and the three spots after Jessica Chastain and Jennifer Lawrence could go many ways. That said, I think that Marion Cotillard is locked in. Vying for the final two spots will be Naomi Watts, Helen Mirren, Quvenzhané Wallis, and Emmanuelle Riva. Consistent attention for Mirren and Watts mixed with their well-known stature in Hollywood has me thinking that Wallis and Riva will be prove too esoteric to get in.

As for Best Actor, I’ve had this horrible inkling that Joaquin Phoenix might not even get nominated. I’m not ready to go there yet, but his exclusion from the SAG awards is disconcerting. Likewise, Sam Rockwell is looking like he has no chance to get in for Supporting with voters possibly going for a slate of actors who’ve all won an Oscar in the past. In the Best Supporting Actor race, Nicole Kidman’s recent nominations at SAG and the Globes is a pleasant surprise. I had no idea that anyone would go for Kidman’s wild, over-the-top, and courageous antics in The Paperboy. It’s still one of my favorite performances of the year. Next to Phoenix, Kidman’s nomination would be the most welcome.

The tech awards are slowly coming into focus and that’s where some of the quality stuff will live. Anna Karenina seems to be getting enough attention to hang around in categories like Costume, Cinematography, and Production Design. The Globe nod for its Score is also exciting. Look for this one to pick up three or four nominations, quite a lot for a genuinely challenging picture. On the other hand, I’m thinking more and more that The Master will likely only grab acting noms (and maybe only one at that). While many are still thinking cinematography, I’m not so sure.

BOLD = my pick to win as of today

Best Picture:
Zero Dark Thirty
Lincoln
Argo
Silver Linings Playbook
Les Misérables
Beasts of the Southern Wild
Moonrise Kingdom
Life of Pi
Django Unchained
***********
Amour
The Master
The Best Exotic Marigold Hotel

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Those Oscar Missed: Best Sound Editing

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CONTRIBUTED BY JAKE THOMPSON

I often wonder what most people think of when they’re watching the categories of Best Sound Mixing and Best Sound Editing during the Oscars.  Do they pretend to know what those categories really mean?  Do they even know the difference between them (besides the category name)?  I admit that I was once one of those people, but just a little bit of research cleared the issue for me a long time ago.  As previously mentioned, sound mixing refers to sound that is recorded on set during production.  Sound editing refers to the editing and/or design of recorded sound that is to be used in the final mix of the film.  Hard to believe, but even the Academy hasn’t always gotten it right with the Best Sound Editing category.  Let us now “hear” the major snubs for this category.

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REVIEW: Rust and Bone

rust and bone2

Jacques Audiard’s films always have a staunchly European feel while keeping one eye on his American contemporaries. His The Beat My Heart Skipped is an adaptation of James Toback’s 70s film, Fingers, and A Prophet owes as much to Martin Scorsese as it does the Dardenne Brothers. His newest, Rust and Bone, the story of an Orca Whale trainer who loses the bottom of her legs in a freak accident and her unexpected encounter with a brawny fighter, is rooted in Americanism both on the surface and just below it. Not unlike Silver Linings Playbook, Rust and Bone generates romance from two desperate, but equally lost, beings. Both films dance one dial click away from exploitation, but neither venture far enough to be offensive. However, Audiard’s film lives in grit and control instead of farce and whimsy. We believe in the connection between these two leads long before they themselves have any need to be in each other’s lives.

Where a film like The Intouchables gleans from the styling of Hollywood indie obsessions, Rust and Bone uses American pop culture as a crucial element of its storytelling. The much talked about accident scene and its following poetic reenactment, both set to Katy Perry’s “Firework,” allude to classic American montage and reliance on popular music. But Audiard embeds the track diegetically to comment on how happenstance it is. Like the film itself, the effect here is pushing music close to being a crutch without venturing entirely into that territory. Likewise, Bruce Springsteen’s “State Trooper” track speaks to pop nostalgia under imagery of a semi-truck (the very American staple) racing through barren countryside. Like the lure of Woody Guthrie, Ali runs from his domestic problems by hitting the road.

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Homeland, Ep. 211: In Memoriam

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Now that the universe of Homeland loyalists have officially conceded (myself included) that perhaps the show isn’t the context with which Kiefer Sutherland will penetrate the social realism of The Wire and solve crucial life questions, it takes on a new and, all the more entertaining, existence. As such, a chase scene between Abu Nazir and Carrie Mathison, like a breakdown by Dana Brody, and a frustrating interrogation of Saul might have otherwise felt contrived, but here play with a sense of urgency and weight.  While I feel somewhat condescending saying that the newest episode of Homeland,“In Memoriam” (formerly “The Motherfucker with a Turban”), works because it does exactly what I have now come to expect, in fact that’s precisely what its charms are. Homeland had its moment as a “great white hope” and it’s now settled into what’s it’s actually always been: a great bit of pulse-racing political thrills.

“In Memoriam” begins with Carrie losing Abu Nazir at the mill and alerting SWAT that he’s still inside. Saul gets called into a dubious interrogation about the death of Aileen Morgan. Saul confronts Estes, knowing that he has arranged this as a way of eradicating Saul’s knowledge of the CIA’s plans to kill Brody. Nazir chases SWAT and Carrie through the dark mill, killing one team member before being gunned down by a firing squad. Carrie collapses next to Nazir’s dead body. At the safehouse, Jessica and Brody are informed of Nazir’s death. After Brody restrains his emotions, he and Jessica finally come to terms about their crumbling marriage. Brody goes to Carrie and confesses his feelings for her.

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There Will Be Blood’s Kubrick References

space Odyssey

Not that this short video goes very deep into the similarities between Paul Thomas Anderson’s There Will Be Blood and Kubrick’s films (specifically 2001: A Space Odyssey), but it does illuminate some of the fun visual references. More so than momentary homage, the structure of Kubrick’s films (namely the triptych) has been adopted for Anderson’s past two features. Maybe the most interesting here is the mirroring of The Shining’s ax wind up with Daniel Plainview’s relentless pursuit of gold and oil in TWBB. Enjoy.

Check out these two articles for further reference:
Bohemian Cinema
Press Play

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Cassavetes and Rowlands in the Edit Room

No adequate words can describe a rare photo of these two greats. As good an on-set director as John Cassavetes was, his documentary style of constructing films from tremendous amounts of raw footage is the stuff of legend. Perhaps it could be said that he become a true filmmaker in the edit bay. (photo from Criterion)

Cassavtes Rowlands

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OSCAR FORECAST: Best Director 2013

Best Director Predictions (as of 12-10-12):
Kathryn Bigelow, Zero Dark Thirty
Steven Spielberg, Lincoln
Ben Affleck, Argo
David O. Russell, Silver Linings Playbook
Benh Zeitlin, Beasts of the Southern Wild

1134604 - Zero Dark Thirty

Now that significant critics groups have had their say, Zero Dark Thirty (closely followed by Lincoln) has emerged as the favorite in the Best Picture race. Argo has remained strong, picking up numerous commendations here and there. Mostly, Argo has hung around on the peripheries of the recent awards, leading me to believe that it will be one of those high nominee/zero wins movies. Unfortunate for Argo is that all of it’s marked strengths are shared or bettered by other movies. Nonetheless, Zero Dark Thirty, Lincoln, and Argo are still the horses at the front of the pack and, as such, all three movies’ directors are locked-in to be nominated as well.

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Those Oscar Missed: Best Sound Mixing

Best Sound Mixing can be a tough or confusing category for those unfamiliar with the term or concept.  Basically, this category recognizes the finest sound mixing or recording in a film, which is done by the person (known as the sound mixer) who was responsible for recording all the sound on set during filming using professional audio equipment.  The Academy has made some obvious (and not-so-obvious) snubs in the past, even with sound mixing.

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The Conversation’s Swirling, Lonely Piano

the conversation

I’ve always felt that the piano score for The Conversation might be the film’s most innovative, and its most driving, aspect. Much has been written about Walter Murch’s use of sound, Gene Hackman’s aggressively pained/paranoid performance (and the invention of the “jazz freak out”), and the subtleties of Coppola’s script. Yet, above all, what makes this film tick is the circus-like sadness of its music.

I revisited The Conversation last night and again David Shire’s lonely piano transcended the rest of the picture. One of the special feature of the Blu-ray disc is this treat of a interview between Coppola and Shire. You get the sense that Shire is a humble man who has no idea how legendary his work really is. At one point he even gives all the credit for his score to Murch. A fun watch. (sorry for the German subs)

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