ACADEMY AWARDS 2018: PLAYING THE PREDICTIONS GAME

Here we go again.  In my humble opinion, The Oscar will go to:

Best Picture: (Hope I am wrong, Get Out is satire, horror and comedy rolled into one)
Call Me By Your Name
Darkest Hour
Dunkirk
Get Out
Lady Bird
Phantom Threads
The Post
*The Shape of Water
Three Billboards in Ebbing, Missouri


Best Actor:
Timothée Chalamet: Call Me By Your Name (don't think so despite a superb performance)
Daniel Day-Lewis: Phantom Thread
Daniel Kaluuya:  Get Out
*Gary Oldman:  Darkest Hour (because great past performances have been overlooked)
Denzel Washington:  Roman J. Israel, Esq.


Best Supporting Actor:
*Willem Dafoe:  The Florida Project
Woody Harrelson:  Three Billboards Outside Ebbing, Missouri
Richard Jenkins:  The Shape of Water
Christopher Plummer:  All The Money in the World
Sam Rockwell:  Three Billboards Outside Ebbing, Missouri (favored to win, but I'm going out on a limb here with Dafoe since his performance was superb)

Best Actress:
Sally Hawkins:  The Shape of Water
*Frances McDormand  Three Billboards Outside Ebbing, Missouri
Margot Robbie:  I, Tonya
Saoirse Ronan:  Lady Bird
Meryl Streep:  The Post


Best Supporting Actress:
Mary J. Blige:  Mudbound
*Allison Janney:  I, Tonya
Lesley Manville:  Phantom Thread
Laurie Metcalf:  Lady Bird
Octavia Spencer:  The Shape of Water


Best Director:
Paul Thomas Anderson:  Phantom Thread
*Guillermo del Toro:  The Shape of Water
Greta Gerwig:  Lady Bird
Christopher Nolan:  Dunkirk (A++ job)
Jordan Peele:  Get Out (another A++ job, but think its del Toro's year)


Best Adapted Screenplay:
Scott Frank, James Mangold and Michael Green; Story by James Mangold:  Logan
*James Ivory:  Call Me By Your Name
Scott Neustadter and Michael H. Weber:  The Disaster Artist
Aaron Sorkin: Molly's Game
Virgil William and Dee Rees:  Mudbound


Best Original Screenplay:
Guillermo del Toro and Vanessa Taylor, Story by Guillermo del Toro:  The Shape of Water
Greta Gerwig:  Lady Bird
Emily V. Gordon and Kumail Nanjiani:  The Big Stick
Martin McDonagh:  Three Billboards in Ebbing, Missouri  (may take it from Peele, but I hope not)
*Jordan Peele:  Get Out


Best Original Song:
Mighty River (Mudbound)
Remember Me (Coco)
Stand Up For Something (Marshall)
The Mystery of Love (Call Me By Your Name)
*This is Me (The Greatest Showman)


Best Original Score:
*Alexandra Desplat, The Shape of Water
Carter Burwell, Three Billboards Outside Ebbing, Missouri
Johnny Greenwood, Phantom Thread
John Williams, Star Wars: The Last Zedi
Hans Zimmer, Dunkirk

Best Animated Feature Film:
The Boss Baby 
The Breadwinner
*Coco 
Ferdinand
Loving Vincent


Best Animated Short:
*Dear Basketball
Garden City
Lou
Negative Space
Revolting Rhymes


Best Visual Efforts:
*Blade Runner 2049
Guardians of the Galaxy Vol. 2
Kong: Skull Island
Star Wars: The Last Jedi
War for the Planet of the Apes


Best Feature Documentary:
Abacus: Small Enough to Jail
*Faces Places
Icarus
Last Men in Aleppo
Strong Island


Best Short Documentary:
*Edith + Eddie
Heaven is a Traffic Jam on the 405
Heroin(e)
Knife Skills
Traffic Stop (may be a surprise winner)


Best Foreign Language Film:
*A Fantastic Woman (Chile)
The Insult (Lebanon)
Loveless (Russia)
On Body and Soul (Hungary)
The Square (Sweden)

The Greatest Showman, All The Money in the World, Molly's Game

Hugh Jackman as P.T. Barnum

Every one of us is special.  Nobody is like anyone else - that's the point of our show."

The Greatest Showman, inspired by the most familiar aspect of the multifaceted life of P.T. Barnum, is a well adapted musical (story by Jenny Bicks, screenplay by Bicks and Bill Condon) with a tight narrative, strong cast and fleeting moments of energetic, engaging visuals.  Director Michael Gracey does not over-tell the story, and without prolonging the inevitable or overstating the obvious, he exposes Barnum’s unusual yet innate sense of humanity and perseverance.  We are given enough to get a feel for Barnum’s gift for orchestrating the spectacular, pulling off the near unbelievable and creating innovative performances that spawned a worldwide show business phenomenon.  In the midst of hoaxes and other effective persuasive devices are candid vignettes on his keen imagination, resilience and family life.  There is also a healthy, albeit short, glimpse into the complex offstage lives of circus performers whose experiences are typically minimized in film through monolithic portrayals as mere sideline fillers, jokers or freaks.  P.T. Barnum’s climb from poverty and social inconsideration to financial success and worldwide recognition is told succinctly through a strong performance by Hugh Jackman, whose dramatic scenes and musical numbers are delivered equally well, and contributions from a credible support cast led by Michelle Williams, Zac Efron, Zendaya and Keala Settle.  While the history-based narrative itself is original, much of the choreography is reminiscent of well-known Michael Jackson dance routines, although the sequencing and execution are adapted to the story and delivered in ways that would probably please the King of Pop himself.  I was not blown away by the film (Jackman came close), but I was entertained and respect its overall quality. In the end, that, perhaps, may be what matters most.

B+

Christopher Plummer as J. Paul Getty, Sr.

"I have 14 grandchildren, and if I pay a penny of ransom, I'll have 14 kidnapped grandchildren."

All The Money in the World is a crime thriller directed by Ridley Scott, written by David Scarpa and based on John Pearson’s book Painfully Rich: The Outrageous Fortunes and Misfortunes of the Heirs of J. Paul Getty (1995). The film is based (taking some liberties) on the 1973 kidnapping of 16-year-old John Paul Getty, III (Charlie Plummer) and the desperate attempts by his mother Gail (Michelle Williams) to persuade his billionaire grandfather (Christopher Plummer) to pay the ransom.  Williams gives a strong performance as a woman pushed towards the edge by greed from both sides of the equation with her son’s life on the line.  Challenged by Getty, Sr.’s refusal to pay, threats from the abductors and mobs of reporters who do not buy the story that she is broke, Gail finds an unexpected ally in Getty’s trusted advisor J. Fletcher Chase (Mark Wahlberg) as the race against time and emotions intensifies.  Williams is convincing and impressive as the pressured ex-daughter-in-law of the wealthy investor, with Wahlberg holding his own as a support character.  But it is Christopher Plummer, with his utter consumption of the role of the tenacious senior Getty, who holds the ultimate key to the film’s suspense, and underscores how the abduction brings to the forefront the billionare's complex, uncompromising philosophy of life, love, family, loyalty and wealth, with the greatest of these being wealth.  Boundaries between winning and losing are blurred along with connections between causes and effects not fixed in monetary terms. What, if any lessons were learned remain unclear.  As for the movie, Plummer will likely be rewarded for his fine performance, with some form of recognition possibly being afforded Williams as well.  

A-

Jessica Chastain as Molly Bloom

"...because it's my name. It's all that I have."

Molly’s Game is the true story of competitive skier Molly Bloom (Jessica Chastain), who went from being an Olympic-class athlete to running the most exclusive high-stakes underground poker game in the world. With players that included powerful, elite and famous figures in Hollywood, Wall Street, the sports world, and (unknown to her), members of the Russian mob, she was arrested in the middle of the night at her home by FBI agents after ten years of operation. Her reluctant criminal defense lawyer Charlie Jaffey (Idris Elba) becomes her sole ally and quasi-therapist who discovers her tabloid-driven public image falls tremendously short of the real Molly Bloom. Chastain and Elba are superb, and although Kevin Costner gives a strong dramatic performance as Bloom’s conflicted father, it is the on-point candor, timing and chemistry between client and attorney that brings weight to this film. Written and directed by celebrated screenwriter Aaron Sorkin, this overview of Bloom’s response to loss, the need for self reinvention and risky, difficult choices against the backdrop of family dysfunction and professional secrecy will likely bring him recognition in directorial terms as well.

B+

Oscar 2016: My Two Cents Worth

Oh, what a night it is going to be for Academy President Cheryl Boone Isaacs...(Bless Her Heart)....enough said... MY PREDICTIONS: BEST PICTURE: “The Big Short” or “The Revenant”...... BEST ACTOR: Leonardo DiCaprio (“The Revenant”)...... BEST ACTRESS: Brie Larson (“Room”)...... BEST SUPPORTING ACTOR: Sylvester Stallone (“Creed”)...... BEST SUPPORTING ACTRESS: Alicia Vikander (“The Danish Girl”)...... BEST DIRECTOR: Alejandro G. Iñárritu (“The Revenant”)...... BEST ORIGINAL SCREENPLAY: Tom McCarthy and Josh Singer (“Spotlight”)...... BEST ADAPTED SCREENPLAY: Adam McKay and Charles Randolph (“The Big Short”)...... BEST FOREIGN LANGUAGE FILM: "Son of Saul" (Hungary)...... BEST DOCUMENTARY FEATURE: “Amy...... BEST CINEMATOGRAPHY: Emmanuel Lubezki (“The Revenant”)...... BEST FILM EDITING: Hank Corwin (“The Big Short”)...... BEST PRODUCTION DESIGN: Colin Gibson, Kate Shamrock, Lisa Thompson (“Mad Max: Fury Road”)...... BEST COSTUME DESIGN: Paco Delgado (“The Danish Girl”)...... BEST ORIGINAL SCORE: "The Hateful Eight” (Ennio Morricone)...... BEST ORIGINAL SONG: "Til It Happens To You" ("The Hunting Ground")...... BEST VISUAL EFFECTS: "Star Wars: The Force Awakens"...... BEST MAKEUP AND HAIRSTYLING: Lesley Vanderwalk, Damian Martin, Elka Wardega (“Mad Max: Fury Road”)...... BEST SOUND MIXING: Jon Taylor, Frank Montaño, Randy Thom, Chris Duesterdiek (“The Revenant”)...... BEST SOUND EDITING: Mark Mangini and David White (“Mad Max: Fury Road”)

My 2014 Oscar Predictions

Here they are: Best Picture: 12 Years a Slave: will win...... Best Actor: This should be a dead heat between Chiwetel Ejiofor (12 Years a Slave) and Leonardo DiCaprio (The Wolf of Wall Street), but Hollywood will likely make their stellar annual screw-up this year by giving the statue to Matthew McConaughey (Dallas Buyers Club), whose best performance of his career was in Mud. Bruce Dern (Nebraska) and Christian Bale (American Hustle) gave strong performances, contributing to the strength of the category this year. The big question is: Why was Tom Hanks not a nominee?...... Best Actress: Cate Blanchett (Blue Jasmine) will win and should win, edging out Meryl Streep (August: Osage County). The performances of Amy Adams (American Hustle) and Judi Dench (Philomena) warranted nominations. Melissa McCarthy (The Heat) should have been nominated instead of Sandra Bullock (Gravity)...... Best Actor in a Supporting Role: Jared Leto (Dallas Buyers Club) will win even though Barkhad Abdi is superb in "Captain Phillips". Bradley Cooper (American Hustle), Michael Fassbender (12 Years a Slave, and Jonah Hill (The Wolf of Wall Street)are the remaining nominees, although James Franco deserved acknowledgement here for "Spring Breakers"...... Best Actress in a Supporting Role: Lupita Nyong'o (12 Years a Slave) will and should win, unless upset by "American Husttle's" Jennifer Lawrence. More distant nominations went to Sally Hawkins (Blue Jasmine), Julia Roberts (August: Osage County), and June Squibb (Nebraska...... Best Director: Alfonso Cuarón will probably win for "Gravity" over Steve McQueen who deserves equitable accolades for "12 Years a Slave". This is a strong category with other contenders being David O. Russell for "American Hustle", Alexander Payne for "Nebraska", and Martin Scorsese for "The Wolf of Wall Street"...... Best Animated Film "The Wind Rises" should win, and has only the slightest chance of upsetting "Frozen", this year's clear favorite. "Despicable Me 2", "The Croods", and "Ernest and Celestine" round out the category...... Best animated short: "Git a Horse"...... Foreign Language Film: "The Great Beauty" from Italy will be victorious over "The Broken Circle Breakdown" from Belgium, "The Hunt" from Denmark, "The Missing Picture" from Cambodia, and "Omar" from Palestine...... Best Documentary, Feature: "20 Feet from Stardom" will probably edge out "The Square" and "The Act of Killing" in a very strong category rounded out with nominations going to "Dirty Wars" and "Cutie and the Boxer"...... Best Documentary, Short Subject: "Facing Fear" stands a slight chance of upsetting "The Lady in Number 6", that I believe will win over it and "Cave Digger", "Karama Has No Walls", and "The Last Days of Private Jack Hall"...... Best Writing, Adapted Screenplay: "12 Years a Slave" by John Ridley will and should win with others being duly rewarded for "Before Midnight" (Richard Linklater, Julie Delpy and Ethan Hawke), "Captain Phillips" (Billy Ray), "Philomena" (Steve Coogan and Jeff Pope), and "The Wolf of Wall Street" (Terence Winter)...... Best Writing, Original Screenplay: "American Hustle's" Eric Warren Singer and David O. Russell will win with "Her" writer Spike Jonze being a possible upsetter, and a more distant possible deserver being Bob Nelson for "Nebraska". "Blue Jasmine" creator Woody Allen and "Dallas Buyers Club" writers Craig Borten & Melisa Wallack are recognized also in the group..... Visual Effects: Gravity will win...... Best Film Editing: The battle here is between "Gravity" (Alfonso Cuarón and Mark Sanger) and "Captain Phillips (Christopher Rouse...... Best Cinematography: Gravity” Emmanuel Lubezki will probably win for "Gravity", although Bruno Delbonnel should win for “Inside Llewyn Davis”; and "12 Years a Slave" should have been nominated...... Best Production Design: "12 Years a Slave"...... Best Make-up and Hairstyling: The "Jackass" movie...... Music, Original Score: “Gravity”, Steven Price, will win. Hans Zimmer, had be been nominated here for "12 Years a Slave" would have been a formidable challenger and possible winner...... Music, Original Song: "Happy" from DESPICABLE ME 2 "Let It Go" from FROZEN will win. It would be nice if "The Moon Song" from HER would upset, but I don't think so.

Star Trek Into Darkness, World War Z, Man of Steel, Place Beyond The Pines...How I Spent My Spring Vacation...

When a seemingly unstoppable force from within the ranks of Starfleet threatens the future of the organization, Kirk leads a search for the terrorist in a forbidden war zone. Chris Pine reiterates the fact that he has nailed iconic Captain Kirk essentials without being imitative or gimmicky while simultaneously collaborating with J.J. Abrams to reinvent the central character. Zachary Qunito as Spock is equally effective and impressive. The two - Kirk and Spock - are on screen emotive polar opposites whose interactions often charge scenes with tension, humor and ambivalence as the layers of warfare and discovery unfold. Other Enterprise crew are also well cast. Karl Urban as Bones (Dr. McCoy) captures the highly opinionated, fear of space, metaphor-recitation behavior uniquely ascribed to his character. John Cho as Sulu is focused, cool and tough with impeccable exactness. Simon Pegg is as hyper, smart, and funny as Scotty should be. Zoe Saldana as Uhura is the greatest stretch, but only on the surface, as her relationship with the hard-core-logic-driven Spock points to the character's romantic appeal. Benedict Cumberbatch gives a formidable interpretation of villain John Harrison, whose reappearance is cleverly set up to become focal in the next episode. J.J. Abrams and Company have taken creative license with some popular Trek story elements, but have pulled it off so successfully in this case with a production that is action-packed, visually slick and interesting, tightly sequenced, and having a broad visual stamp that repeatedly, subtly, restates the Star Trek brand. In my humble opinion, Star Trek: Into Darkness is an example of what good franchise filmmaking is supposed to be. Grade: A Even though I am not into Zombie flicks, and the horror genre is not among my favorites, I give a good grade to World War Z. Brad Pitt delivers a solid performance as former United Nations troubleshooter Gerry Lane who has essentially retired to Philadelphia with his wife and two daughters when a global crisis erupts. Lane is recruited to assist by traveling the world in search of means to stop the Zombie pandemic. Directed by Marc Forster and based on the Max Brooks book World War Z: An Oral History of The Zombie War (2006) in a screenplay by Matthew Michael Carnahan, the apocalyptic horror film fluctuates between shutter speed action, panoramic scenes of devastation, and candid narration by Lane, whose drive to save the world is only superseded by his desire to save his family. While each cast member delivers most appropriately in "Z, special note is due Daniella Kertesz who is unforgettable as Israeli soldier Segen. This faux-documentary can get into your head. It is suspenseful, disturbing, and intense with just enough comic relief to allow occasional moments of normal breathing. Not all questions raised are answered, and while a sequel is probably inevitable, there is much more to be told, explained, and resolved. Grade: B+ A funny thing happened on the way to the latest rendition of Superman...somebody tried too hard to humanize a character whose very definition and characteristics are underscored by the fact that he is from Krypton, not Earth. Somehow, the fact was overlooked that we have bought into the notion that he is "Faster than a speeding bullet! More powerful than a locomotive! Able to leap tall buildings In a Single Bound! This amazing stranger from the planet Krypton! The man of steel. "Look up in the sky! It's a bird! It's a plane! It's Superman!"...Sentimentalism is not needed here. Audiences of various types have bought into the basic concept since 1938. The opening scenes setting up the story of Man of Steel are too slow, the fight scenes in the film are dragged out too much, and the movie overall is too long. With 30 more minutes of careful editing it probably would be a much improved film. Russell Crowe is strong as the birth father. Warrior Crowe does his usual impressive thing when cast in such roles. He did all he could. Diane Lane is convincing as a loving mother figure. Kevin Costner plays Lane's husband and Superman's "earth" father. There are some glitches in the script, but the main issue, in my humble opinion, is with the Man of Steel himself...the storyline around Superman, not actor Henry Cavill, who is stoic enough at times, has the right physique, and seems to offer enough eye-candy for those who go to movies for such treats. With better action sequencing; more timely (and thus, convincing) conclusions to fight segments, and a toning down of Batman, Hulk, Iron Man and Matrix rip-offs, and this maybe would have been a truly exciting comic-action movie (yes, everybody does it, but does Superman need it?). Grade: C+ Take a fearless motorcycle stunt man who lives a day-to-day existence as a free spirit; stir in the emotional charge of him discovering he has a newborn son with his lover; add the decision to provide for both with the quick financial fix of carefully-planned bank robberies; mix in his clash with an ambitious young cop who seeks a meteoric rise in a department held underfoot by a corrupt detective, and you have a super-nutshell synopsis to a great film called The Place Beyond The Pines. Ryan Gosling delivers an on-target performance as the conflicted, gritty, loner bike rider Luke, who lives for the moment, makes questionable choices and takes extreme risks, but melts down to a soft-spoken, adoring daddy at the sight and touch of his infant son. Eva Mendes conveys with sharpness the uncertainty of a lover caught up in the range of emotions experienced when faced with a chance for relative security and comfort, contrasted with the equally powerful realization that she still loves someone (Luke) who is the perfect storm in her life. Bradley Cooper confirms he is equally capable of delivering a strong dramatic performance as he is a comedic role as he plays the rookie cop Avery whose fate is dramatically affected by a collision with Luke. Dane DeHaan is gripping as the quiet, introverted Jason, son of Luke as a teenager. DeHaan commands undivided viewer attention in every scene in which he appears. Emory Cohen also comes through with strength as Avery's troubled son, AJ, epitomizing the callous, insensitive well-to-do teen who seeks out, lures and manipulates the peer classmate with no friends - in this ironic case, Jason. Some of the more intense, enigmatic interactions occur between these two young actors, who are naturals on film as they strike all the necessary marks to bring believability to their roles. A quick mention must be made of the menacing portrayal of Ray Liotta as a bad cop. His impact is felt despite limited time on screen. Derek Cianfrance should be proud of this independent film for his contribution as director and co-screenwriter along with Ben Coccio and Darius Marder. The Place Beyond The Pines is worth seeing. Grade: A

THE HELP: Mothers, Ma'ams and Maid Matters

The Help will make you laugh, cry, reflect, think, and at times feel uncomfortable or a little angry, but it will not leave you empty and it will not disappoint. Filmed and set in Mississippi, the story unfolds in the 1960s built on the surface around relationships between African American maids and the white children they care for. The deeper structure is set around the voice and principles of domestic Aibilene Clark – powerfully played by Viola Davis (who reiterates in this film that she is an A+ actress); Eugenia “Skeeter” Phelan – well-played by Emma Stone - a recent graduate of Ole Miss who returns home to Jackson with aspirations of becoming a writer about things that are important; and, Octavia Spencer, who flirts with stealing the whole film as Minny, a no-nonsense domestic who knows how to be a maid, but also knows how to get even. There are no easy leads in this film. Bryce Dallas Howard takes her role as the manipulative, self-righteous, Southern Belle bigot Hilly Holbrook to iconic proportions, supported superbly by Ahna O’Reilly as Elizabeth Leefolt, Hilly’s strongest co-hort in maintaining Jim Crow social traditions; Anna Camp as her quietly cunning and giggly socialite friend Jolene; and, Sissy Spacek as Hilly’s aging, psychologically abused mother who despite dementia, remembers “two things”. Accolades are also due Jessica Chastain as the vulnerable, social outcast Celia Foote, wife to Hilly’s ex-boyfriend; Allison Janney as “Skeeter’s” ailing, remorseful mother; and Aunjanue Ellis, who gives an emotional portrayal of a mother willing to pay a tremendous price to educate her sons.

Love is a core element. No one epitomizes its implications more acutely than Aibilene, who loves others with such intensity, restraint and purity that she has little left for herself and who struggles in the face of this depletion with the scriptural mandate to “love your enemies”. The unlikely bonds, risky alliances, and ironic courses of events reverberating through this racially sensitive film are intensified by the obvious chemistry and dramatic synergy of the performers themselves. Director/writer Tate Taylor brought a cohesive believability, candor, and spirit to the screen in The Help – it is a model of good filmmaking and good acting. It’s also memorable largely because of some great (at least one graphic) one-liners. Kudos to author Kathryn Stockett for writing the book and for assisting longtime friend Taylor in translating this story of humanity into a meaningful film.

There should be great reward when Oscar nominations come around, and it should not come as a surprise to anyone if a statue or two ends up in the hands of an actor, its director or its writers.


Grade: A

My 2011 GOLDEN GLOBE PREDICTIONS

There were a number of clear winners this year, in my opinion, although, we know how quirky, partial, and unpredictable the foreign press can be, but here goes:

1. BEST MOTION PICTURE: DRAMA
a. BLACK SWAN
b. THE FIGHTER
c. INCEPTION
d. THE KING’S SPEECH
e. THE SOCIAL NETWORK
WINNER – THE KING’S SPEECH

2. BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE DRAMA
a. HALLE BERRY FRANKIE AND ALICE
b. NICOLE KIDMAN RABBIT HOLE
c. JENNIFER LAWRENCE WINTER’S BONE
d. NATALIE PORTMAN BLACK SWAN
e. MICHELLE WILLIAMS BLUE VALENTINE
WINNER – NATALIE PORTMAN

3. BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA
a. JESSE EISENBERG THE SOCIAL NETWORK
b. COLIN FIRTH THE KING’S SPEECH
c. JAMES FRANCO 127 HOURS
d. RYAN GOSLING BLUE VALENTINE
e. MARK WAHLBERG THE FIGHTER
WINNER – COLIN FIRTH

4. BEST MOTION PICTURE – COMEDY OR MUSICAL
a. ALICE IN WONDERLAND
b. BURLESQUE
c. THE KIDS ARE ALL RIGHT
d. RED
e. THE TOURiST
WINNER – THE KIDS ARE ALL RIGHT (ALICE/WONDERLAND could be a spoiler)

5. BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – COMEDY OR MUSICAL
a. ANNETTE BENING THE KIDS ARE ALL RIGHT
b. ANNE HATHAWAY LOVE AND OTHER DRUGS
c. ANGELINA JOLIE THE TOURIST
d. JULIANNE MOORE THE KIDS ARE ALL RIGHT
e. EMMA STONE EASY A
WINNER – ANNETTE BENNING (JULIANNE MOORE could upset her co-star)

6. BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – COMEDY OR MUSICAL
a. JOHNNY DEPP ALICE IN WONDERLAND
b. JOHNNY DEPP THE TOURIST
c. PAUL GIAMATTI BARNEY’S VERSION
d. JAKE GYLLENHAAL LOVE AND OTHER DRUGS
e. KEVIN SPACEY CASINO JACK
WINNER - JOHNNY DEPP (ALICE/WONDERLAND)

7. BEST ANIMATED FEATURE FILM
a. DESPICABLE ME
b. HOW TO TRAIN YOUR DRAGON
c. THE ILLUSIONIST
d. TANGLED
e. TOY STORY3
WINNER – TOY STORY 3

8. BEST FOREIGN LANGUAGE FILM
a. BIUTIFUL (MEXICO/SPAIN)
b. THE CONCERT (FRANCE)
c. THE EDGE (Kpaй) (RUSSIA)
d. I AM LOVE (IO SONO L’AMORE) (ITALY)
e. IN A BETTER WORLD (Hævnen) (DENMARK)
WINNER – THE EDGE

9. BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A MOTION PICTURE
a. AMY ADAMS THE FIGHTER
b. HELENA BONHAM CARTER THE KING’S SPEECH
c. MILA KUNIS BLACK SWAN
d. MELISSA LEO THE FIGHTER
e. JACKI WEAVER ANIMAL KINGDOM
WINNER – HELENA BONHAM CARTER

10. BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MOTION PICTURE
a. CHRISTIAN BALE THE FIGHTER
b. MICHAEL DOUGLAS WALL STREET: MONEY NEVER SLEEPS
c. ANDREW GARFIELD THE SOCIAL NETWORK
d. JEREMY RENNER THE TOWN
e. GEOFFREY RUSH THE KING’S SPEECH
WINNER – CHRISTIAN BALE

11. BEST DIRECTOR – MOTION PICTURE
a. DARREN ARONOFSKY BLACK SWAN
b. DAVID FINCHER THE SOCIAL NETWORK
c. TOM HOOPER THE KING’S SPEECH
d. CHRISTOPHER NOLAN INCEPTION
e. DAVID O. RUSSELL THE FIGHTER
WINNER – TOM HOOPER

12. BEST SCREENPLAY – MOTION PICTURE
a. DANNY BOYLE, SIMON BEAUFOY 127 HOURS
b. LISA CHOLODENKO, STUART BLUMBERG THE KIDS ARE ALL RIGHT
c. CHRISTOPHER NOLAN INCEPTION
d. DAVID SEIDLER THE KING’S SPEECH
e. AARON SORKIN THE SOCIAL NETWORK
WINNER – AARON SORKIN

13. BEST ORIGINAL SCORE – MOTION PICTURE
a. ALEXANDRE DESPLAT THE KING’S SPEECH
b. DANNY ELFMAN ALICE IN WONDERLAND
c. A.R. RAHMAN 127 HOURS
d. TRENT REZNOR, ATTICUS ROSS THE SOCIAL NETWORK
e. HANS ZIMMER INCEPTION
WINNER – TOO CLOSE TO CALL

14. BEST ORIGINAL SONG – MOTION PICTURE
a. “BOUND TO YOU” — BURLESQUE
Music by: Samuel DixonLyrics by: Christina Aguilera, Sia Furler
b. “COMING HOME” — COUNTRY STRONG
Music & Lyrics by: Bob DiPiero, Tom Douglas, Hillary Lindsey, Troy Verges
c. “I SEE THE LIGHT” — TANGLED
Music by: Alan Menken Lyrics by: Glenn Slater
d. “THERE’S A PLACE FOR US” — CHRONICLES OF NARNIA: THE VOYAGE OF THE DAWN TREADER
Music & Lyrics by: Carrie Underwood, David Hodges, Hillary Lindsey
e. “YOU HAVEN’T SEEN THE LAST OF ME” — BURLESQUE
Music & Lyrics by: Diane Warren
WINNER – THERE’S A PLACE FOR UR or I SEE THE LIGHT – TOO CLOSE

One-Liners

Post your three one-liners by Midnight Sunday [2/7/2010]

Michael Jackson's This Is It: For The Fans

This is one of the most difficult reviews I will probably ever write for reasons that include wanting the final images of Michael Jackson to be affiliated with excellence and the hope that tributes come forth worthy of his legacy, and because of the inevitable exploitation issues raised regarding any project on this mega-entertainer. But as the list of projects continues to grow – executed and planned – Michael Jackson’s This Is It may be the most successful monetarily, even if it falls short of effectively exonerating itself from rip-off associations. With its monumental worldwide opening October 28, 2009 (showings in some entire countries sold out within days of advance sells in September), the adoration and eagerness of fans to see Michael Jackson work his magic one more time, albeit not live on stage, may enhance the acceptability this film. Then, too, there is the matter of his three children who never had the opportunity to see their father perform live, and were slated to be surprise guests at the opening show at O2 Arena in London. For them, This Is It is probably the closest thing – which they will view in a private showing. Again, there is the matter of his fans. Jackson’s relationship with his fans was deeply heartfelt on both sides, and he would, in all likelihood, want to give them something innovative and unique even after making the transition. But is this film what he would have wanted?...Tidbits of his greatness?...Un-finalized, incomplete, nonlinear snippets of an unprecedented, potentially ground-breaking tour?...Michael Jackson seen giving less than100 percent?...all legitimate concerns.

Admittedly, Director Kenny Ortega did a credible job of intersecting selected shots from roughly 120 hours of available rehearsal footage into the 111-minute tribute to Jackson. Ortega chose clips that are visually interesting. The peeks into Jackson’s perfectionism are insightful. The presentations of aspects of signature segments in the show are extremely valuable to establishing for viewers a sense of Jackson’s overall concept for the concert. Enough was given to realize that had the tour occurred, it would have been incredible. Jackson looks pretty good despite being noticeably thinner and obviously holding back – with unusual skill - on dramatic dance moves reserved for the real thing; and he sounds great even though he is clearly saving his full voice for the same reason.

Jackson in black and white film (thanks to PhotoShop) taking on Humphrey Bogart and Edward G. Robinson creates a clever lead-in to Smooth Criminal, and he is quite funny in some of the conversational interactions with the singers, musicians, dancers and Ortega. These elements work as clear reminders that, after all, the intent is to present a documentary.

Michael Jackson’s This Is It is a paradox: a film that Kenny Ortega will probably reflect on in years to come with reasonable pride, and a tribute that die-hard fans will most likely consider to be something legitimate to cling to. At the same time, it raises concerns about what the man himself would have wanted or not wanted. His own production standard is high and legendary. To me, Michael Jackson was a genius. One of a kind. He deserves a tribute comparable to his legacy and equal to his passion. As one lone voice, for me, for now, this is not it; but I hold steadfastly to the possibility (and hope) that, perhaps, it may serve as a spark igniting its beginning.


Grade: B+

The Soloist: A Noteworthy Film

The Soloist is a fact-based account of interactions between two men who discover one another in the midst of urban chaos, unfulfilled desire, and personal dysfunction that strike an unusual chord of friendship despite limitations of social and mental disorder. Los Angeles Times columnist Steve Lopez (Robert Downey, Jr.) and virtuoso Nathaniel Anthony Ayers (Jamie Foxx), a homeless Julliard trained musician meet in a public park as Ayers beautifully serenades Beethoven’s statue playing a worn violin with only two strings. Lopez is hungry for a career-rejuvenating article with powerful first-person impact. He immediately realizes the potential of a great feature – and job security – in Ayers’ story, and sets out on a course of action motivated by self-interest and personal gain that quickly transitions into novice attempts to help the musician get back on his feet and realize his dreams, not the least of which is to perform at Walt Disney Concert Hall.

There are obvious complications. Ayers exists in a world obscured by schizophrenia. His days are consumed with complex myriads of sounds of L.A., echoes of resurrected life events, and concerts of inner voices muted periodically by his own impromptu recitations and transcendent musical performances. Lopez lives in a state of defeat and resignation, overwhelmed by the downward emotional spiral defining his life - a life exacerbated by the declining newspaper industry and incessant mantras of failed relationships resonating through the voice of ex-wife and fellow journalist portrayed effectively by Catherine Keener. He unexpectedly slips into the role of Ayers’ “savior” , and once this is realized, becomes conflicted by his awareness of the associated psychological commitment and personal responsibility - unwanted mammoth positions he prefers (and seeks) to avoid.

Ayers, though ill and irrational is consistent in his emphasis on a self-constructed state of bliss, affection for Beethoven, and pure passion for music. In witnessing his musical genius, Lopez experiences something close to redemption, and as he brings public awareness to the incredible uniqueness of Ayers, he discovers things about his own flaws, weaknesses and needs. Ironically, it is Ayers who is the fixture. His intent, agenda and dreams remain intact. The major difference in his life is geography. On the other hand, it is Lopez who changes, who rethinks the meaning of friendship and family, and who experiences new eyes. Metaphors of mirrored similarities in the presence of profound difference are discernible throughout the film for those viewers inclined to travel such routes, but it is a worthy movie without these interpretive explorations. Credit is due director Joe Wright (Atonement, Pride and Prejudice) for snatching the plot back and continuing to tell Ayer's particular story just before it spills over into a cinematic monologue on the homeless or mentally ill on L.A.’s skid row - there is candid, raw footage that deals straightforwardly with aspects of both social concerns that strays ever so gently from the professed focal narrative. The intertwined aerial views and sound equivalents presented in vivid color formations are nice, unexpected extras worth noting as well.

The film is not perfect, but the performances of Janie Foxx and Robert Downey, Jr. are. Foxx brings calculated weight and credibility to the illness, frayed existence, and complicated talent of Ayers. Downey, Jr. is utterly believable as the uncertain, anxious down-and-outer who endeavors to help, yet being poorly-prepared, literally makes it up as he goes along. They nail the necessary on screen chemistry, and both give performances worthy of Oscar consideration.

Grade: B+

MY MOVIE REVIEW FILM ALERT:

Mark Twain and Mary Baker Eddy

If you like great character studies, are intrigued by fact-based recreations of historical biography, appreciate the candid humor unique to Mark Twain, or have the slightest affinity for experiencing what might best be described as a magnificent adventure through the wilderness of a complex, impassioned human soul, then fine tune your radar...do not fall asleep at the wheel... be on the look out for what may well be a slam dunk performance by Val Killmer. MARK TWAIN and MARY BAKER EDDY: A Love Story went into pre-production in January 2008 and its trailer - slightly over 10 and a half minutes - is a gripping invitation to what should be a powerful film and an extraordinary addition to the actor's filmography. Remember Kilmer's incredible performance as Doc Holliday in Tombstone (1993) where he walked away with everything except the set (and a well-deserved Oscar nod - do not get me started...), well, it seems he is at it again. Kilmer is superb as Mark Twain as seen in the available footage, capturing the popularized physical, attitudinal, and verbal likeness of the American humorist, lecturer, essayist, and author with uncanny perfection. I eagerly await the release of the completed project and anticipate that, should it receive the distribution and viewing opportunity it seems to warrant, it will bring the deserved acclaim to Kilmer.

Written and directed by Kilmer, the projected release date for Mark Twain and Mary Baker Eddy is 2010.


Take a look and tell me what do you think:

My 2009 ACADEMY AWARD PREDICTIONS

Before listing predictions for this year's Oscar winners, I must comment on the nominations for Best Documentary Film - one category where the Academy cannot fall short no matter who is called to the stage on award night. All of these films are extraordinary in distinctly different yet highly effective ways. They are equally strong in fashioning storytelling, direction, filming, etc. to the optimum benefit of the particular account they set out to present. Kudos and Congratulations to the production staffs of each of these fine documentary films:

The Betrayal (Nerakhoon) addresses the far-reaching implications of America's involvement in the Vietnam War through the story of Laotian immigrant Thavisouk Phrasavath who exchanged a life of persecution in Southeast Asia following US withdrawal because his father assisted the CIA for a life of poverty in Brooklyn. It is quietly gripping and poignant.

Encounters at the End of the World is filmmaker Werner Herzog's beautifully recorded examination of the unique range of personalities and occupational lifestyles from research scientists to blue collar workers defining the population surviving in the harsh environment of Antartica. Never before has ice cold been conveyed with such warmth.

The Garden is a well constructed narrative of the conflict between residents in a South Central L.A. neighborhood and the new landowner of a previously city-owned tract of land that was one of the nation's largest community gardens but the owner has targeted for development.

Man on Wire is the dramatic account of how French performance artist Philippe Petit planned and executed his 1974 high wire walk between the World Trade Center's Twin Towers that took nearly one hour to the amazement of New Yorkers observing from the streets below. An homage to the structures themselves is an unintentional subtext.

Trouble The Waters is the first hand account of New Orleans resident Kimberly Roberts and her husband's chaotic experiences of the devastation of Hurricane Katrina from their grueling exodus, settlement in Memphis and eventual return to the city. Uses actual footage shot by Roberts. Candid and raw at times.


On to my predictions:


Category....................... Should Win................... Will Win

Picture....................... Benjamin Button.............. Slumdog
Actress....................... Meryl Streep..................... Meryl Streep
Actor.......................... Brad Pitt.......................... Sean Penn
Supp. Actress.............Taraji Henson................. Amy Adams
Supp. Actor............... Heath Ledger.................. Heath Ledger
Director..................... Howard:Frost/Nixon......Boyle: Slumdog
Art Direction............. Ben/Button........................ Ben/Button
Orig. Screenplay........ Wall-E................................ Milk
Adap. Screenplay....... Ben/Button........................Slumdog
Foreign Lang.............The Class (Fr).......Waltz/Bashir (Isr'l)
Docum. Feature........ WIDE OPEN
Short Docum............. WIDE OPEN
Short Film................. New Boy...............................Toyland
Short Animated......... Lavatory/Lovestory..........La Maison
Song........................... Slumdog ............................ Slumdog
Score...........................Button or Defiance............. Slumdog
Sound Editing.............Ben/Button................... Dark Knight
Sound Mixing.............Slumdog.............................Slumdog
Editing........................Button or Milk..................Sllumdog
Cinematography......... Dark Knight.................Ben/Button
Animation................... Wall-E.............................. WALL-E
Visual Effects.............. Ben/Button.................. Ben/Button
Costume Design.......... Ben/Button.................... Australia
Makeup....................... Ben/Button................. Ben/Button

CONGRATULATIONS TO THE 2009 GOLDEN GLOBE WINNERS...especially....

the family and friends of the late Heath Ledger, especially Chris Nolan

the production staff, cast and crew of SLUMDOG MILLIONAIRE, the underdog that could (and DID!)

Best Actor recipient Michael Rourke (The Wrestler)....Welcome Back!

Double Winner Kate Winslet (Best Actress - Reservation Road, Best Supporting Actress -The Reader)...see you in CA 2/24!!!

and

Steven Spielberg - 2009 Cecil B. DeMille Lifetime Achievment Award Recipient...Well Deserved!

MY PICK FOR BEST MOVIE: The Curious Case of Benjamin Button......Followed Ever So Closely By Doubt

View Site:
http://www.benjaminbutton.com/


Read My Review of TCCOBB Below
(Blog appears immediately after Golden Globe Predictions)

MY 2009 GOLDEN GLOBE PREDICTIONS

BOLD indicates correct pick:
(16 out of 26) Check out my Oscar picks later in the month!

Category.............................. Who Should Win ..................... Who Will Win

Best Picture/Drama………….......TCCO Benjamin Button……...............TCCO Benjamin ButtonX

Best Actress/Drama…………………Meryl Street (Doubt)……………..Angelina Jolie (Changeling)X

Best Actor/Drama……………Brad Pitt (Benjamin Button)……… Pitt (Rourke -Wrestler CBAS*)

Best Picture/Comedy/Musical……..……Mama Mia!…………………….Mama Mia!X

Best Actress/Comedy/ Musical… E. Thompson (Last Chance Harvey)... McDormand CBAS*X

Best Actor/Comedy or Musical………Dustin Hoffman (Last Chance Harvey)………..HoffmanX

Best Supporting Actress in a Mot. Pic.…….Viola Davis (Doubt)…Kate Winslet (Reader)

Best Supporting Actor in a Mot. Pic.………Heath Ledger (Dark Knight)……….Heath Ledger

Best Animated Feature Film……………………Wall-E………………………….Wall-E

Best Foreign Language Film.…I’ve Loved You So Long (France)……I’ve Loved You So LongX

Best Director – Motion Picture.…David Fincher (Button)…..Ron Howard (Frost/Nixon)X

Best Screenplay – Motion Picture……Eric Roth - B. Button .....David Hare – The ReaderX

Best Original Score – Mot. Pic.…….Alexandre Desplat (Button)…….....A.R. Rahman (Slumdog M.)

Best Original Song – Mot. Pic.…..Bruce Springsteen (Wrestler)……Peter Gabriel (Wall-E)

Best Television Series/Drama………………....Mad Men (AMC)…………………………… Mad Men

Best Actress in TV Series/Drama……Sally Field (Bros/Sis-ABC)..Anna Paquin (Blood/HBO)

Best Actor in TV Series/Drama………..Jon Hamm (Mad Men-AMC)…………….Jon HammX

Best Television Series/Musical or Comedy………….30 Rock (NBC)………………………..30 Rock

Best Actress in TV Series/Musical or Comedy…Tina Fey (30 Rock-NBC)……………….Tina Fey

Best Actor in TV Series/Musical/ Comedy…..Alec Baldwin (30 Rock-NBC)……Alec Baldwin

Best Mini Series or Motion Picture
Made for TV…………………..……………John Adams (HBO)……………………………John Adams

Best Actress in a Mini Series or Motion Picture
for TV/Drama.…….Laura Linney (John Adams-HBO)……C. Keener (Amer. Crime CBAS)*

Best Actor in a Mini Series or Motion
Picture Made for Television……………Paul Giamatti (John Adams-HBO)….Paul Giamatti

Best Supporting Actress in Mini Series or
Film Made for TV….....Melissa George (In treatment-HBO)…Laura Dern (Recount-HBO)

Best Supporting Actor in Mini Series or
Film Made for TV……..Tom Wilkinson (John Adams-HBO)………Tom Wilkinson
.......................................................................Dennis Leary (Recount-HBO) BCAS*


*Could Be a Spoiler

The Curious Case of Benjamin Button

Entertainment film in its highest form should present you with a story or aspect of a story that compels you to totally commit, unconditionally indulge, or consciously tolerate its plot, even in the face of something unexpected, unlikely or virtually impossible. In comes The Curious Case of Benjamin Button, the time-metaphoric tale of a male born with the physical characteristics of a very old man - plagued with cataracts, wrinkled skin, fragile bones and a slew of other chronic ailments - who ages in reverse, becoming more youthful with each tick of the clock. He is deserted at birth, rescued by a stranger who is accustomed to caring for the aged, but who recognizes that what the infant needs most is love; the baby boy, ironically, in his innocence, presents her with an opportunity to nurture in the reverse care-giving manner than her daily routine running a home for the elderly requires. Button has a sequence of encounters and experiences as he grows progressively younger, maintaining a physical, psychological and cyclical anchor at the home of his adopted mother. Borrowing ever so loosely from the basic premise of the 25-page 1922 short story of the same title by F. Scott Fitzgerald, this rendition by Eric Roth (Forrest Gump, The Insider) and Robin Swicord veers from many specifics of the original storyline but maintains its rootedness in the mysterious nature of Benjamin Button's life as a means to addressing conflicting attitudes surrounding the fact of aging and our ambivalence about concepts of time.

Brad Pitt delivers his best performance to date as Button - the quiet, confused man who walks the thinnest of lines between a resolved situation and life as a victim. And while the make-up and computer magic are unquestionably part of the cast in this film, Pitt wears these masks well, delivering just the right amount of reserve, cautiousness and passivity where applicable and enough hints of initiative and emotion when necessary. He is superbly supported by Taraji Henson as Queenie, the woman who raises him. Pitt and Henson should make the coveted short list from members of the Academy - Henson should walk with a statue. Jared Harris as Captain Mike, the tattooed seaman who befriends him, Tilda Swinton as Elizabeth Abbott, the woman who seduces him, and Elle Fanning (yes, Dakota's younger sister hits the mark here) who plays young Daisy - the love of his life also deliver strong performances. Cate Blanchett, however, has done stronger work. Her portrayal of Daisy grown up is credible, and occasionally comes across as just awkward enough to add another edge (even if unplanned) to an already unusual production, but it falls short of memorable, even moreso in light of Henson's and Swinton's great work in this project.

Director David Fincher (Se7en, Zodiac, Fight Club) seems to have an affinity for time-mazed fantasies and should pull an Oscar nomination as well. While he intrigues us to the point of at least hanging with the idea of Button's delimma, and gently prods us into gradually caring a bit about the character, he wisely avoids overt sentimentalism, laces the film with humor, and makes the love story one of its layers, not the force that truly drives the film - that aspect, for me, is all contained in the uniqueness, mysteriousness, and involuntary oneness of Button.

This may be a difficult film for some to follow (and swallow). It raises a lot of what-ifs and imagine this. Concepts of then and now, past and present merge in call and response-like scenarios facilitated by flashbacks, the voice of a diary reader, the recollection of an aging Daisy, the impending threat of Hurricane Katrina, the counterclockwise ticking of a large clock, the coloration of the images, silence, noise, water, travel, and Button's perspective. There is an understated attentiveness to the very status of being severely different, awkward, and yet human; of being embraced and accepted in one's own unsualness as opposed to being patronized and tolerated. Given a chance - one this film clearly deserves - the movie provides food for serious thought.

If you watch the film instead of your cell phone clock - a distraction and a nuisance to everyone seated nearby - you really do not feel its 2 hour 47 minutes. And after all, whom among us has not stated or thought, "if I could turn back the hands of time"?...



Grade: A-
Amalia

The Dark Knight

...I like the Lambourgini...I want the motorcycle...and the home is not half bad either....

The Dark Knight joins a relatively short list of sequels that hold their own as separate episodes that are as reputable as their preceding movies. While the success of this film is not comparable to Francis Ford Coppola's excellent, classic Godfather trilogy; nor does it advance the kind of psychological and technological breakthroughs of the Matrix threesome; producer/director Christopher Nolan does a credible job of re-formatting the familiar legendary action hero in contemporary cinematic terms, and, in this particular episode, his Joker nemesis - a character that was practically immortalized by a great performance on the part of Jack Nicholson in 1989 - reoccurs in an explosive portrayal by the late Heath Ledger.

Here, the enigmatic, temperamental Batman is further defined outside of the strict comic book persona. Less cartoonish and even more mysterious, his stoicism gives way to passion and his former sense of invincibility is replaced with vulnerability and questionable ethics. Gotham City has leaders who are, in the more normal context, heroes in their own right, and who interact and plot strategies with the super hero who is as counter-culture as he is anti-crime.

The Dark Knight is an action-packed, visually stimulating, engaging, suspenseful, and well acted film. Heath Ledger, the object of most of the film's pre-opening hype and a major factor in terms of its early record-breaking box office returns, is superb as the Joker. All jokes aside (pun intended), he nails the role - the Joker's psychotic, manipulative, and inhumane presence are pushed to the limits by Ledger. If he receives a posthumous Oscar nomination for best supporting actor from the Academy, as the Hollywood buzz seems to indicate, it may well be deserved. While I cannot go so far as to state that he surpasses the memorable performance of Nicholson, he is magnificent in the paradigm established by Nolan.

Christian Bale is no slouch either. He is equally on the mark as Batman in a performance that takes a back seat to no one's. Bale is totally believable as the personification of the Dark Knight whose dichotomous lifestyle is the source of his complex personality and conflicting modes of behavior; and he does so with power and precision. Bale is so well suited for this role that it is possible (and likely) that viewers will minimize his outstanding performance, particularly in light of Ledger's untimely death and celebrated portrayal of the Joker. He has great on-screen chemistry with cast members Michael Caine, Morgan Freeman and Gary Oldman, and his timing and sensitivity in terms of his physical assertiveness in each scene are tiny elements that translate into big pay offs in the total impact of a film.

Kudos to Aaron Eckhart, Maggie Gyllenhaal, Oldman, Freeman, Caine and Chin Han - all great actors in their own right - for their individual contributions to the overall success of the film.

The Dark Knight has raised the mark for a one day cash total (66.4 million) and has raised the bar for DC Comics-inspired films. The greatest challenge for Warner Brothers, Christopher Nolan and Christian Bale is, how do they repeat it in the next sequence, much less top it?

Grade: A

Until next time,
Amalia

Salute and Farewell: Sydney I. Pollack (1934-2008)

Hollywood and the movie loving public lost a great one Monday, May 26 when award-winning director, producer, actor and writer Sydney Pollack passed due to a cancer related illness.

Initially an actor, Pollack made his film debut in War Hunt, a 1962 drama about the traumas of war that was also the first big screen appearance for Robert Redford and Tom Skerritt. He and Redford became longtime friends, and Redford urged him to pursue directing. Taking Redford's advise, the two subsequently worked on seven films together, including This Property is Condemned (1966), Three Days of The Condor (1975), Jeremiah Johnson (1973), The Way We Were (1975), The Electric Horseman (1979), Out of Africa (1985) – winner of the Academy Award for Best Director and Best Movie -, and Havana (1990/91). But while Pollack enjoyed tremendous acclaim for Out of Africa (still considered his masterwork), he directed and produced a number of additional risk-taking, groundbreaking and highly creative films that helped to define American film in the 1970s and 1980s.

His first major motion picture direction was The Slender Thread (1965) with Sidney Poitier as an unsuspecting college-volunteer at a crisis help line who expects to essentially watch the phones for a brief interim between expert shifts rather than actually man them, and Anne Bancroft as a suicide caller who seeks subliminal companionship and anonymity as she slowly succumbs to an overdose of pills rather than help and rescue. Both bring the ideal amount of anxiety, passion and sense of spontaneity to their characters with powerful support performances by Telly Savalas as the crisis line psychiatrist, Steven Hill as the neglectful husband, and Edward Asner as the police detective trying to locate her before it is too late. A fact based story, it is an emotional, gripping drama that is almost gritty in its black and white format. There is simplicity and honesty in its candor, and the interaction between characters is on the mark in every scene. In addition to his artistry, Pollack was on target in casting Poitier as the student - a role that was not contingent on racial implications during an era in the United States when race was on the forefront of America’s daily existence, and at a time when far too few individuals in Hollywood made such decisions based on talent, not skin color. In so doing, however, Pollack allowed the viewer to consider the potential associative relationship between race and sight – neither of the two voices on the phone can see the "physical identity" of the other - and the fact of race is rendered superficial in light of the life-and-death circumstances of the situation.

Pollack’s meat and bread genre was political thrillers - Three Days of The Condor remains his most outstanding film in this regard, although The Firm (1993) and The Interpreter (2005) are two among others that contribute significantly to his reputation in this arena. He was also capable of driving the romantic comedy (Tootsie, 1982); and, had a particular gift for inspiring ensemble casts to simultaneously bring solo and collective believability and punch to complex stories that consequently appealed to diverse audiences...They Shoot Horses, Don’t They (1969), Absence of Malice (1981), and Sabrina (1995) come quickly to mind.

While Pollack delivered credible support actor work in Changing Lanes (2002), Michael Clayton (2007), etc., he rose to his fullest height as a director and as producer of such notables as Presumed Innocent (1990), Sense and Sensibility (1995), The Talented Mr. Ripley (1999), and Cold Mountain (2003).

Sydney Pollack will be missed by this movie-goer...and many, many others.

REVIEW: Indiana Jones and the Kingdom of the Crystal Skull

Hold On To Your Hats!?
This latest adventure of Indiana Jones blasted on the scene Sunday (May 18,2008) at its Cannes premiere following a red carpet introduction that was an indication of its inevitable blockbuster status beginning with its bombardment of theaters commencing today. As might be expected, there are exotic locations, amazing sceneries, 007-inspired escapes, bugs, and what director Steven Spielberg referred to as "old fashioned stunt work and practical magic as opposed to digital magic".

Upside: This is a film that should be seen on the big screen. The opening scenes in Nevada are gripping and somewhat visually amazing. There are some great one-liners, including Indiana's poking fun at himself, mostly about his age. The soundtrack is decent. Cate Blanchett is superb as a KGB dominatrix. It is relatively family friendly.

Downside: Some sequence outcomes are predictable. The middle is less interesting and therefore less engaging than the beginning and end, and I mean the very end - which is a subtle way of saying the film literally struggles to get to the end and that the film is too long.

But, hey...if you have LOL for the Indy franchise, you will probably share few if any of these views...but this is how I see it.

I will say more later, following a second look today.

Ciao


After a second look (yes, I went back to the theater with two family members Friday, May 23), my original thoughts did not change. See why I graded this Indy film a C+ in the comments section.