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+