Cinephile Heaven

The 82nd Academy Awards Predictions

2010-03-06T18:48:00.004-05:00

Academy Awards 2010 Predictions

by Mandy Rodgers

This year, the Academy made some serious changes in the way the Oscars would take place, starting with the decision last year to nominate 10 feature films for the Best Picture category. Some were pleased by the decision to give nods to those who otherwise would have never stood a chance, but others felt that it was wasted space and did not impact the running at all. We probably all know who the real Top 5 would have been, don't we? The way the Best Film contenders are voted for is also a doozy and creates an odd tension among everyone in the industry--but hey, that's the Oscars, am I right, Nicolas Cartier? Also, this year the program will be hosted by TWO popular males: Alec Baldwin and Steve Martin. The two also both starred in Meryl Streep's romantic comedy "It's Complicated" this year as well--not that that film is nominated. With the ever-growing memorium reel, producers have had issues putting someone in the honored/dreaded spot of introducing it, and for some reason, the Best Song contenders will not perform their pieces this year, which I am actually happy about because I have a personal beef with one of the nominees. You can find out later.

BEST PICTURE

Avatar ***UPSET***

The Blind Side
District 9
An Education
The Hurt Locker ***MY PICK***
Inglorious Basterds
Precious: Based on the Novel 'Push' by Sapphire
A Serious Man
Up

Up in the Air

So here's the Top 10 films of the year, according to the Academy, and many moviegoers and critics have had a field day blasting some of the choices and agonizing over those overlooked, like the popular and acclaimed "Star Trek" or the quirky and original "(500) Days of Summer." Many seem angry that "The Blind Side" received a nomination, but I don't see it as such a huge problem. If it won, yes, that would be unjust, but giving a popular and good film a nomination (when there are 10 to go around) doesn't bother me. I thoroughly enjoyed "The Blind Side" for what it is, and apparently many in the country did too. It's box office gross is almost $250 million. Speaking of box offices, let's look at the mega-popular, dominating "Avatar," my pick for the possible upset category. We really know that this race is now between James Cameron's "Avatar" and Kathryn Bigelow's "The Hurt Locker," and the way "The Hurt Locker" has picked up steam these months between the Golden Globes and tomorrow night is incredible. And rightfully so. "Avatar" has a lot going for it, including the top grossing film of all time (Domestically, it's passed $700 million, blowing the former king "Titanic" out of the water. No pun intended, but it happened.) However, I am hoping that they will crown "The Hurt Locker" instead for being a captivating drama with suspense, characters and a plotline--even against all the controversy one of its producers has made by sending out campaign emails, going against Academy rules.

ACTOR in a LEADING ROLE

Jeff Bridges - Crazy Heart **MY PICK**

George Clooney - Up in the Air
Colin Firth - A Single Man
Morgan Freeman - Invictus
Jeremy Renner - The Hurt Locker **UPSET**

Jeff Bridges began this award season with a lock on this category and has not faltered since. I thought that perhaps the nomination of Renner from Best Picture front-runner "The Hurt Locker," (he was overlooked for the Golden Globes) would at least make things interesting, but alas, it's just not happening. There is very little buzz for anyone that is not Bridges, and the man deserves an award, at least for his illustrious career of diverse roles and almost-wins. So I am content with him taking home the gold tomorrow night. If anyone is going to steal it, make it Renner or Clooney, just because he's fun to watch accept things on stage, and this show is not shaping up to be too interesting.

ACTOR in SUPPORTING ROLE

Matt Damon - Invictus

Woody Harrelson - The Messenger *UPSET*

Christopher Plummer - The Last Station
Stanley Tucci - The Lovely Bones

Christoph Waltz - Inglorious Basterds *MY PICK*

This race is shaping up to be one of the least surprising or shocking of the year. It looks a lot like my thoughts during the Golden Globes, and the momentum has not changed or shifted in any way. I have no doubt in my mind the Waltz will win for his brilliant turn in "Inglourious Basterds" as one of those movie villains that will be copied and read about for ages. The perfect mix of devastating horror with an odd, illustrious charm, Waltz has this piece in the bag, and for our viewing pleasure, I hope that he has discovered a way to tie in his win (Oscar/Academy Award) with something inspirational, like he's done in many a speech this season. If it's not him, Harrelson has the best shot at an upset--Damon is lucky to be nominated, Plummer is a favorite but doesn't have the buzz and Tucci, though the best part about the ill-made "The Lovely Bones" still can't pull it out.

ACTRESS in a LEADING ROLE

Sandra Bullock - The Blind Side ***

Helen Mirren - The Last Station
Carey Mulligan - An Education
Gabourey Sidibe - Precious
Meryl Streep - Julie & Julia **

This race has completely changed since the beginning of the Golden Globes campaign until now, and I am kind of enjoying the shift. It seemed the acting categories would be completely predictable starting last November, so at least "The Blind Side" and its popularity have kept us on our toes. Bullock is my pick for this category due to her many wins and how damn likable she is. I am a huge Bullock fan and have been from the beginning of when I liked film, and though I did not think her role in "The Blind Side" would earn her enough rave reviews or respect to take Oscar home at first, now that it seems it has, I support it. Many can argue that all of the other roles were better or harder or more captivating, but watching Bullock portray the real Leigh Anne Tuohy with such spunk and flair actually made me forget for a minute it was Bullock, one of my favorite actresses, which is hard to do and the little-known Mulligan and Sidibe didn't have that obstacle for many. And they will have their time soon enough after each of their brilliant performances this year. But I am excited and hopeful now that America's Sweetheart wins, but if she doesn't, Streep will probably accept her 4,000th award.

ACTRESS in SUPPORTING ROLE

Penelope Cruz - Nine

Vera Farmiga - Up in the Air **

Maggie Gyllenhaal - Crazy Heart

Anna Kendrick - Up in the Air

Mo'Nique - Precious***

Again, is there anyone who is betting against Mo'Nique in this one? Oscar ballots were in long before she proclaimed she didn't care if her husband (who we loved her speaking so cutely about at the Golden Globes) slept with a bazillion other women, so really she has nothing going against her. And yes, the aforementioned should not have even put a dent in her Oscar track, but anything controversial should be noted, and plus, I thought her statement was weird. But I digress...Mo'Nique better have an acceptance speech ready to top or at least compete with her beloved GG one, because there's really not feasible way she won't win. Aside from her performance being stellar, chilling and so far from any Mo'Nique-ian thing you've ever seen, her competition isn't so great. "Nine" has lost all hope in receiving anything, and Gyllenhaal has been way overshadowed by her costar to garner much attention. The "Up in the Air" ladies are brilliant, but I think being nominated against one another is always a negative. Farmiga stands out a little more for me than Kendrick though, so she's my upset pick here.

ANIMATED FEATURE FILM

Coraline **

Fantastic Mr. Fox

The Princess and the Frog

The Secret of Kells

Up ***

Again, is anyone betting against powerhouse Pixar/Disney's "Up?" Please, tell me if you are and what your reasoning is. It doesn't even have strong competition. I am picking "Coraline" as the upset because it's visually stunny and just really odd, but there's no point, because "Up" has to win. It was the first animated film to be nominated for a Best Picture Oscar since the Academy developed the Best Animated Feature category several years ago. "Fantastic Mr. Fox" was fun and "The Princess and the Frog" was a great step back into hand-drawn animation for the company, but this one is not a race. I actually had to look up what "The Secret of Kells" was -- a small, animated film winning a lot of awards in Europe, but I'm still not sure what it's about. "Up" makes you cry, laugh, cry, laugh and also entertains with breathtaking visuals. Congrats.

ART DIRECTION

Avatar***

The Imaginarium of Dr. Parnassus

Nine**

Sherlock Holmes
The Young Victoria

I have never been good at guessing the technical awards and probably won't start getting them right this year, but that doesn't mean I won't try. However, I won't explain my decision as much, because I doubt I have a great deal of reasoning. "Avatar" should win a lot of these, so that part will be easy. I'm picking "Nine" here, cause it's a full-scale musical that might not have been very acclaimed, but it looked really pretty. And if it wasn't for being Heath Ledger's final movie, would "Parnassus" have really been nominated?

CINEMATOGRAPHY

Avatar ***

Harry Potter and the Half-Blood Prince
The Hurt Locker

Inglorious Basterds **

The White Ribbon (Das Weisse Band)

If there is one thing "Avatar" did have, it was pretty exquisite cinematography. Isn't that what the whole movie was? I'm picking "Basterds" as an upset, because I really liked that movie and don't think it had a chance for much this year.

COSTUME DESIGN

Bright Star
Coco Before Chanel
The Imaginarium of Dr. Parnassus

Nine ***

The Young Victorian **

Along with great art direction, "Nine" was also pretty to look at due to the costuming. Some thought "Bright Star" would have earned more nominations than this, but my dislike for Abbie Cornish make me still choose the other similarly-styled "The Young Victorian."

DIRECTING

Avatar - James Cameron **

The Hurt Locker - Kathryn Bigelow ***
Inglorious Basterds - Quentin Tarantino
Precious - Lee Daniels

Up in the Air - Jason Reitman

Like the Best Picture category, this one comes down between the exes, Cameron and Bigelow. I'm not sure if the Academy will award one film both or split the two, but I'm going to hope that both go to "The Hurt Locker." Even Cameron told the GG audience that he didn't pee because he thought Kathryn would win. Maybe the Academy listened and took that into consideration like they do everything Cameron says or does or thinks about saying or doing.

DOCUMENTARY FEATURE

Burma VJ

The Cove ***

Food, Inc. **

The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers
Which Way Home

I'm not going to pretend that I have even seen these films, because I have not. I am genuinely interested in seeing "The Cove," which revolves around a former dolphin trainer ("Flipper") who decides that animals should never be held captive again and sets out to change things. Pretty odd timing to think about this film after the headline-making death of a Sea World trainer recently by a killer whale. I would say "Food, Inc." was the most popular of the nominated docs, but I am scared to see it because I want to possibly eat again in my life and feel that if I saw it, I would be well informed by scared to eat food of any kind again.

DOCUMENTARY SHORT

China's Unnatural Disaster: The Tears of Sichuan Province***

The Last Campaign of Governor Booth Gardner
The Last Truck: Closing of a GM Plant

Music by Prudence **

Rabbit a la Berlin

This is a guess, and this is only a guess...

FILM EDITING

Avatar **

District 9 ***

The Hurt Locker

Inglorious Basterds

Precious

I'm going to actually go against "Avatar" and "The Hurt Locker" for one and probably be wrong, but at least I took a chance.

FOREIGN LANGUAGE FILM

Ajami (Israel)

The Milk of Sorrow (Peru)

A Prophet (France) **

The Secret in Their Eyes (Argentina)

The White Ribbon (Germany) ***

Not going to make the same mistake I did for the Golden Globes by not picking the Cannes winner -- "The White Ribbon."

MAKEUP

Il Divo

Star Trek ***

The Young Victoria **

Since it was given nothing else, let's give "Star Trek" the makeup award. This reasoning is all I have hear - there was good makeup in it too though. I guess.

MUSIC (ORIGINAL SCORE)

Avatar **

Fantastic Mr. Fox

The Hurt Locker

Sherlock Holmes

Up ***

I want "Up" to win for the opening sequence alone, but there's a very good chance it could lose to the giant. Scores are hard to predict...at least for me. I actually won a CD of the "Sherlock Holmes" score through a Twitter contest, but alas, I gave it away because I don't listen to instrumental music with nothing happening around it. If I only had that CD, maybe the answers would be there.

MUSIC (ORIGINAL SONG)

The Princess and the Frog - "Almost There" Randy Newman

The Princess and the Frog - "Down in New Orleans" Randy Newman **

Paris 36 - "Loin de Paname" Reindhart Wagner/Frank Thomas

Nine - "Take it All" Maury Yeston

Crazy Heart - "The Weary Kind" Ryan Bingham and T Bone Burnett ***

The one category I hope I'm wrong it but probably won't be. I've complained about this instance all awards' season, and it is my personal vendetta against Ryan Bingham a country music singer/songwriter that few people but me had heard of before the "Crazy Heart" opportunity. However, I know him all too well after his management hounded me and my editor at my school newspaper for an interview to promote his album and upcoming concert in Athens, Ga. We set things up, and I made a special effort to schedule this interview and my life accordingly. Come the day/time, Bingham was to be interviewed, I called him, and he and his manager explained that he was too hung over to conduct a telephone interview at this time, and they laughed about it. They rescheduled, but when I tried again, I never heard back. Now, he's receiving many accolades, and I still have this issue with him. Why can't the Academy award something having to do with New Orleans for another time this year?? :(

SHORT FILM (ANIMATED)& SHORT FILM (LIVE ACTION)

French Roast
Granny O'Grimm's Sleeping Beauty***
The Lady and the Reaper
Logorama
A Matter of Loaf and Death **

The Door
Instead of Abracadabra
Kavi **
Miracle Fish
The New Tenants ***

Gut reactions. Solely.

SOUND EDITING

Avatar **

The Hurt Locker ***

Inglorious Basterds

Star Trek

SOUND MIXING

Avatar ***

The Hurt Locker

Inglorious Basterds

Star Trek **

Transformers: Revenge of the Fallen

Of course, "Transformers" should win SOME kind of Oscar - that gem of a movie.

VISUAL EFFECTS

Avatar ***

District 9 **

Star Trek

I'm going to actually go against "Avatar" and "The Hurt Locker" for one and probably be wrong, but at least I took a chance.

WRITING (ADAPTED SCREENPLAY)

District 9

An Education **

In the Loop

Precious

Up in the Air ***

I think Reitman will pull out a win here like at the Golden Globes

WRITING (ORIGINAL SCREENPLAY)

The Hurt Locker **

Inglorious Basterds ***

The Messenger
A Serious Man
Up

I want "Inglorious Basterds" to win something, and this category is its best shot - beside the shoo-in Supporting Actor with Waltz. Tarantino's script rewriting the demise of Hitler deserves to be honored -- who else could get away with something that ridiculous and yet intriguing and watchable??

DiCaprio, Scorsese Shine and 'Shutter'

2010-02-24T01:13:00.002-05:00

Shutter Island

2010

film review

by Mandy Rodgers

Rated: R

Director: Martin Scorsese

Starring: Leonardo DiCaprio, Mark Ruffalo, Ben Kingsley, Max von Sydow, Michelle Williams, Emily Mortimer, Patricia Clarkson and Jackie Earle Haley

When a film’s theatrical release is delayed for several months at the last second (and right around Oscar season), a low hum escapes into the film community and among movie buffs that the final product was “lacking” or the studio didn’t believe in the piece. Every once in a while, this general thought is not the case, and with “Shutter Island,” Paramount Pictures’ financial troubles were really the cause for distress.

With an original October 2009 release date, Paramount head executive Brad Grey blames the late release on financial issues looming over film companies these days. With more time and more momentum, Paramount was able to push a heavy marketing campaign towards the picture, securing a No. 1 box office opening weekend with $41 million, a best for both DiCaprio and Scorsese. But how does it fare critically?

“Shutter Island” opens immediately into the action and heart of the story it draws upon from Dennis Lahane’s dramatic and terrifying novel, and it never slows down. Well, it never really speeds up either. Scorsese tells a methodical and stunning story in an intriguing, old-fashioned way. It’s set in 1954 and almost feels like it was shot then too. The obvious and devious score, paired with the dark and dreary storm-filled skies instantly give the audience an ominous feeling that Shutter Island—the place and the movie—has quite a tale to tell.

DiCaprio stars as Teddy Daniels, a U.S. Marshall assigned to a case on the eerie Shutter Island, a converted Civil War fort that is now a hospital and ward for the criminally insane. The only way to access the facility is by ferry, and the ferry is controlled by Shutter Island itself, or head doctor, Dr. Cawley (Kingsley). Teddy just has met partner Chuck Aule (Ruffalo), fellow U.S. Marshall, for this situation alone, but the two have an instant bond and trust. The two Marshalls are searching for an escaped patient named Rachel who murdered her family years ago and is believed to be roaming the island.

From first moment to last, the entire movie aligns the audience with Teddy. No scene is without him and no information is given to us without his filter, adding another layer of suspense to the already claustrophobic and twisted thriller. Teddy also has an ulterior motive here at Shutter Island concerning the murder of his wife, Dolores (Williams), and a mystery 67^th patient. Teddy’s consistently horrifying dreams and hallucinations keep his yearning to catch her killer and mend old wounds in the front of our minds.

Teddy actually has other controversial parts of his past come up in these fantasy (nightmare) sequences, and within a half hour, it’s evident that he is a complex, conflicted and marred hero for us to rely on for the duration of “Shutter Island.” Scorsese takes a film noir approach to our hero, as he’s jaded and flawed yet smart and charming. Hey, it’s Leonardo DiCaprio for crying out loud. He mixes this character into a Hitchcockian thriller, a classic drama (“One Flew Over the Cuckoo’s Nest”) and complete the recipe with the always menacing Kingsley and affable Ruffalo. Williams is also heartbreaking as the ghost of what Teddy lost but still can’t let go.

In some ways, “Shutter Island” relies too much on the fact that it’s supposed to be scary and frightening vs. the fact that it actually is, but Scorsese makes up for the clichés (graveyards, rain) with DiCaprio.

DiCaprio carries the film with his earnest and absorbing portrayal of a man fighting his ghosts and fears while striving to give his current assignment everything he has left. And the climax and twists give DiCaprio a role he can dutifully inhabit with Scorsese’s skilled direction, sure to impact other thrillers for generations to come.

Having not read the novel and starting the film with little expectation, I found the payoff quite rewarding. “Shutter Island” is flawed but so is our hero and sole alliance on the island itself. The haunting score and stylized horror world Scorsese created engulf the filmgoer in this crazed environment, but also open the audience’s mind for debate on serious topics like mental health and medication long after the credits roll. Message boards continue to argue and dissect the film’s chilling ending, asking for repeat viewings and more answers—the definitive sign of an effective mystery.

'Valentine's Day' Lacks Humor, Focus and Romance

2010-02-18T19:06:00.002-05:00

Valentine’s Day

2010

film review

by Mandy Rodgers

Rated: PG-13

Director: Gary Marshall

Starring: Jessica Alba, Kathy Bates, Jennifer Biel, Bradley Cooper, Eric Dane, Patrick Dempsey, Hector Elizondo, Jennifer Garner, Jamie Foxx, Topher Grace, Anne Hathaway, Carter Jenkins, Ashton Kutcher, Queen Latifah, Taylor Lautner, George Lopez, Shirley MacLaine, Emma Roberts, Julia Roberts, Bryce Robinson and Taylor Swift

There are several things I am a fan of, and this film contains many of them—romantic comedies, Gary Marshall and Julia Roberts. (Yes, Pretty Woman is still one of my favorites, and I won’t deny it.) Plus, ensembles are so much fun, and this movie is about as star-filled as you can get with many A-listers and the latest up-and-coming actors, complete with Lautner of Twilight fame. So why am I not thrilled with the outcome of the latest flick to oust Avatar out of its top box office seat?

With all the components of a great romantic comedy, Valentine’s Day misses the mark and ends up playing like a schmaltzy and predictable Lifetime movie as opposed to a funny and watchable box office sensation. With comedy classics like Overboard, Pretty Woman, Runaway Bride and The Princess Diaries under his belt, Marshall knows more than most about directing a timeless rom-com, but maybe Katherine Fugate’s cliché-filled screenplay gave him little to work with. Fugate is known mostly for writing on Lifetime’s "Army Wives"…hmm…maybe it all makes sense now…

An ensemble piece to the nth degree, no one character is given more credit, but Reed Bennett (Kutcher) keeps the story moving throughout, starting with the film’s opening and his hopelessly romantic character proposing to girlfriend, Morley (Alba) on Valentine’s Day. She says yes, and he immediately wants to tell his BFFs Alphonso (Lopez) and Julia (Garner), who are kind of shocked that the two might actually get hitched. (“Why is everyone so surprised?” he exasperatingly yells several times.)

And so begins one love story after another with interconnections running along them. Almost as soon as a character was introduced, I guessed their movie love fate—minus one storyline exception that did have me surprised. (I won’t spoil here in case you ever see it.)

Other than that, you have the older couple who’ve only had eyes for each other, the brand new romance that is still awkward, the high school couple figuring out sexuality, the jilted anti-love lady, the happily married couple, the childhood crush and the philandering husband. They’re all here misbehaving, making up, falling in love or falling out of it in one fateful Valentine’s Day.

The problem is that the audience is not amused (I think I laughed one time), and they don’t care about most of the characters (hard to get romantic with unlikable people). Garner and Kutcher are the standouts and perhaps the center of the wavering story. She’s adorable, and he is…well, himself, it seems, but charming nonetheless. Marshall-movie-mainstay Elizondo and the always skilled MacLaine keep their usual poise and grace in their scenes, but Biel, Alba, Bates, Latifah and Roberts are given very little to do. Dempsey, Dane and Cooper serve their roles in the film but lack depth and background making for a muddled cacophony of events.

With this many varied characters and actors, it’s hard to juggle the stories, but other films in the same vein have succeeded in telling involving tales of love or adventure—Paris, je t'aime, Ocean’s Eleven and Playing by Heart, to name a few.

Valentine’s Day was never going to be (or intended) to please everyone, but I at least thought the romantic comedy lovers would have something to enjoy on the holiday weekend, and I was disappointed.

Even Swift as the unabashedly in love teen was obnoxious to me, and I am a die-hard Taylor Swift fan. Why don’t they make them like they used to?

Golden Globe Predictions: Film Categories

2010-01-17T02:34:00.007-05:00

Golden Globe 2010 Predictions

by Mandy Rodgers

With Ricky Gervais serving as the Golden Globes’ first host, Hollywood’s oft-touted favorite award show should have several entertaining moments and perhaps a few surprises in the winners’ circle. Many of the categories feel like sealed deals, but there are still some tight races, and don’t forget the Cecil B. DeMille honor for Martin Scorsese. The look back at his career will be entertaining, and Marty’s usually a great speaker—how has he not won this award before?

FILM CATEGORIES

DRAMA

Avatar

The Hurt Locker **Upset**

Inglorious Basterds

Precious

Up in the Air **My Pick**

For me, this category might be the most perplexing. Walking into Up in the Air, I was convinced that it would bowl me over enough to immediately choose it for best film of the year. I had seen the other four, and all are impressive in their own ways but not one had completely convinced me that it could grab the gold during award season. Though I appreciate Up in the Air as a film (somewhat depressing and eerily timely), its screenplay and acting, I still was not convinced in its ability to win voters over. Personally, I enjoyed Inglorious Basterds the most, as an entertainment vehicle and as a great film. The Hurt Locker impressed me 90 percent of the way through, but the ending—important message but stylized in a bizarre fashion—took a couple of point away for me. Precious’ heavy tones and themes surely alienated many voters and audiences; Avatar’s lack of innovative story have turned many off enough that its stunning visuals and box office domination might not save it. The Hurt Locker could win Best Picture at the Oscar; Hollywood’s Foreign Press will give the honor to Up in the Air due to star power and the abundance of other nominations it received.

ACTRESS in a DRAMA

Emily Blunt – The Young Victoria

Sandra Bullock – The Blind Side

Helen Mirren – The Last Station

Carey Mulligan – An Education **Upset**

Gabourey Sidibe – Precious **My Pick**

I love Bullock (it’s true), but this battle is between Mulligan and Sidibe. Mirren is always an easy win, and Blunt’s Victorian turn is racking up rave reviews, but after you see Sidibe as the abused and neglected (is that an understatement) Precious and then see Sidibe squealing about Justin Timberlake in interviews, the transformation is readily apparent and mind blowing. For Mulligan, she’s being compared to Audrey Hepburn. You can’t get much better than that.

ACTOR in DRAMA

Jeff Bridges – Crazy Heart **My Pick**

George Clooney – Up in the Air **Upset**

Colin Firth – A Single Man

Morgan Freeman – Invictus

Tobey Maguire – Brothers

Freeman is classic Freeman, which is always good. Clooney shows emotion somehow making us forget (for a moment) his movie star persona. Firth finally gets some recognition for the talent most of us have already seen. Maguire was mostly crazy-eyed and just un-Peter Parker. This one will go to Bridges, who evokes many feelings and sides of the human persona with this struggles and triumphs.

COMEDY/MUSICAL

(500) Days of Summer **My Pick**

The Hangover

It’s Complicated **Upset**

Julie & Julia

Nine

Out of this lineup, the only film I have not been able to watch is Nine, which has virtually fallen off the Oscar radar in many categories already with a horrific box office pull and pretty so-so reviews. The Hangover, though hilarious, is just too crude and crass to actually receive the honor on Sunday. Both of Meryl’s comedies possess winning aspects, but neither feel like a completely perfect film. My favorite for this category is (500) Days of Summer. Great acting, spot-on direction, inventive screenplay and an awesome musical number of its own featuring Hall & Oats’ "You Make My Dreams Come True."

ACTRESS in COMEDY/MUSICAL

Sandra Bullock – The Proposal

Marion Cotillard – Nine **Upset**

Julia Roberts – Duplicity

Meryl Streep – It’s Complicated

Meryl Street – Julie & Julia **My Pick**

Surprisingly, this section comes down to Streep vs. Streep, I believe. Kudos to Bullock for her double nominations (and the nominated movies are also her top two grossing films of all time), and Roberts had to have fallen out of her chair when hearing of the nomination. I love America’s sweethearts, but this isn’t their year, and conversations of Cotillard and her film have nearly ceased. Streep is good in both films, but she shines in Julie and Julia as the effervescent Child.

ACTOR in COMEDY/MUSICAL

Matt Damon – The Informant! **Upset**

Daniel Day-Lewis – Nine **My Pick**

Robert Downey Jr. – Sherlock Holmes

Joseph Gordon-Levitt – (500) Days of Summer

Michael Stuhlbarg – A Serious Man

Even though Nine has stumbled, it’s only chance at securing a win is for Day-Lewis. I mean, it’s Daniel Day-Lewis. Is there anything he doesn’t do perfectly? And here, he sings! Downey Jr. is clearly having fun with his career as of late and carries Sherlock Holmes, as does Damon in The Informant!, whose physical transformation and completely changed mannerisms are definitely worth noting.

SUPPORTING ACTRESS

Penelope Cruz – Nine

Vera Farmiga – Up in the Air

Anna Kendrick – Up in the Air

Mo’Nique – Precious **My Pick**

Julianne Moore – A Single Man **Upset**

The Supporting categories seem to be the least shakable of the show, and I have to agree with the consensus that Mo’Nique will walk away with a statue for her incredible turn as Mary, mother (can we really call it that?) to Precious. Very un-Mo’Nique like, so much so that I wanted to inflict crazy harm to her after watching the film—and she’s a comedian! The Up in the Air ladies deserve their nominations but love for them might cancel out. And looking at Moore’s history of always a nominee, never a winner is devastating, but she’ll get her win soon—hopefully. Oh yeah—and that all-star musical has a chance here too.

SUPPORTING ACTOR

Matt Damon – Invictus

Woody Harrelson – The Messenger **Upset**

Christopher Plummer – The Last Station

Stanley Tucci – The Lovely Bones

Christoph Waltz – Inglourious Basterds **My Pick**

The supporting categories always contain diverse and interesting actors and characters. Damon should be thrilled with his dual noms, and who doesn’t have a special place in their hearts for Captain Von Trapp, I mean, Christopher Plummer? Harrelson’s dramatic turn is getting tons of attention, while Tucci’s scary role in Peter Jackson’s all-talk-no-nominations drama based on the novel of the same name is sure to stupefy those familiar with his typical comedic characters. But as soon as Waltz (as Col. Hans Landa) ordered Shosanna (Melanie Laurent) a glass of meaningful milk, I was hooked on his winning numerous accolades for his work.

ANIMATED

Cloudy with a Chance of Meatballs

Coraline

Fantastic Mr. Fox **Upset**

The Princess & the Frog

Up **My Pick**

Pixar + Disney + Ed Asner + cute kid named Russell + cute dog named Dug + stunning visuals + touching, tear jerking story AND the aforementioned beloved Christopher Plummer…Need I say more?

FOREIGN

Baaria – Italy

Broken Embraces – Spain **My Pick**

The Maid – Chile

A Prophet – France

The White Ribbon – Germany **Upset**

Unfortunately, I was unable to watch any of the nominated movies here, and even though White Ribbon won at Cannes, I think the appreciation for Broken Embraces will put it over the edge.

DIRECTOR

Kathryn Bigelow – The Hurt Locker **My Pick*

James Cameron – Avatar **Upset**

Clint Eastwood – Invictus

Jason Reitman – Up in the Air

Quentin Tarantino – Inglorious Basterds

We all know this fight is between Bigelow and Cameron and since they are exes, it makes it even more interesting! Not to take away from Eastwood’s prowess, Tarantino’s originality (and odes to film history) or Reitman’s edginess, I believe it comes down to the Little Film that Could and the Bonafide Blockbuster for the director race. So should Cameron win for the special effects-laden masterpiece that is Avatar or Bigelow for a character-driven drama also full of its own effects? I say Bigelow. Cameron’s been King of the World; let’s give it to the ex-Queen.

SCREENPLAY

District 9

The Hurt Locker **Upset**

Inglorious Basterds

It’s Complicated

Up in the Air **My Pick**

SCORE

Up **My Pick**

The Informant! **Upset**

Avatar

A Single Man

Where the Wild Things Are

SONG

Cinema Italiano – Nine **My Pick**

Music & Lyrics By: Maury Yeston

I See You – Avatar
Music By: James Horner and Simon Franglen
Lyrics By: James Horner, Simon Franglen and Kuk Harrell

I Want You to Come Home – Everybody’s Fine
Music & Lyrics By: Paul McCartney

The Weary King – Crazy Heart
Music & Lyrics By: Ryan Bingham and T Bone Burnett

Winter – Brothers **Upset**

Music By: U2

Lyrics By: Bono

I want to give something musical to Nine. Not sure if this is an educated pick, however, I’ve heard the other songs and was not too terribly impressed. It’ll probably go to U2 or McCartney—no explanation needed. And yeah, I’m still bitter about Ryan Bingham’s being “too hung over” to complete an interview with me several years ago for The Red & Black. I hold a grudge.

Next post: TV predicts

Live Blogging the People's Choice Awards

2010-01-06T23:47:00.001-05:00

The People's Choice Awards -- Jan. 6

One of the worst awards shows--not because it's voted by the people--but because all the winners already know they've won and those are usually the only people who show up...maybe live blogging it will spice things up! It's show time!

9:00 p.m. The awards begin with some very slow music...hmmm...Queen Latifah looks great in a black gown, but wait! Is she singing that song from Les Miserables that Susan Boyle made us listen to over and over again this summer while Simon Cowell looked astonished??

9:01 Never mind, she changed the lyrics about dreaming a dream to "dreaming to host the People's Choice Awards" and Steve Carell being in his underwear. Does she not remember this is the third (I think) year in a row she's hosted them?

Oooh it's a medley of songs. Now, Latifah is joking that people wanted Hugh Jackman to host this show too...he's laughing at that for way too long. Surely he doesn't want this gig.

9:02 Does Chevy Chase look drunk, and did Latifah just skat?

9:03 Ellen DeGeneres was just announced the winner of Favorite Host without other nominees? This seems fishy. At least she's sharing the award with Oprah whose show "was cancelled." Oh, Ellen...But why she calls out Sandra Bullock's 11th toe is beyond me...is she drinking whatever Chevy Chase just downed?

9:05 Ellen turns presenter for Favorite Comedy Movie...who voted for 17 Again?? I want your name and phone number. 17 Again didn't win, but how was it nominated? The Proposal won, and thank goodness Bullock and Ryan Reynolds were right there to accept...who are these other people on stage?

9:07 Bullock and Reynolds had a dance prepared if they won...however, no one played music for them? They just handed it over to director Anne Fletcher and she kind of awkwardly dances and it's uncomfortable.

9:08 Tim Gunn and the one-Pussycat-Doll-anyone-recognizes are explaining some special sneak peeks of 2010 that will be shown through the broadcast. Starting with Ridley Scott's Robin Hood, which just looks like Gladiator with bows and arrows to me. Russell Crowe hasn't even aged! If Bryan Adams does not have a love ballad, I'm not watching...

9:11 One of the worst promos ever: "What do Johnny Depp, Taylor Lautner, Hugh Jackman, Keith Urban, George Lopez, Carrie Underwood, Sacha Baron Cohen, Hugh Laurie, Taylor Swift and Jessica Alba all have in common? They're here at the People's Choice Awards." Really??

9:14 Paranormal Activity parody with Queen Latifah is pretty funny. What if Paranormal Activity was really about making a sex tape with Cloris Leachman? Probably scarier than the original...Props to the real stars for appearing.

9:16 Rascal Flatts is introducing the kind of music that has "never stopped belonging." R&B. Their R&B band name would be "Boys to Rascalls." No one in the entire auditorium laughs. Who writes this crap?

9:18 Mariah Carey wins Favorite R&B Artist...Nick Cannon has to help the possibly drunk and tightly dressed Mariah up the stairs and then stands behind her. "My real friends know that they're my extended family..." slur, slur...she just called her dress a "drama" and said "I didn't mean to do this," and now she's talking about Nick and things "she shouldn't talk about." These people are TOLD AHEAD OF TIME that they won...why are the acceptance speeches so nuts??

9:21 Private Practice's Kate Walsh almost busted her ass coming down a ramp apparently, though I didn't see it. She presents Steve Carell with the Favorite TV Comedy Actor award. Everyone screamed extra for Charlie Sheen--he can't hear you in jail, crazies!

9:22 Surely Carell will have a good speech...He's having the audience repeat "That's what she said..." after his lame jokes about his "big" award...Carell has let me down, but at least he was prepared. He had to have been working on that bit for weeks.

9:24 The Spanish lady from Modern Family is really Spanish and likes to hit people, FYI. She's presenting Favorite TV Comedy Actress with James Denton. These presenter skits suck so much.

9:25 Tina Fey's nominee clip from 30 Rock is the funniest thing of this show so far. *Fingers crossed for Tina*

Alyson Hannigan?? I should have known she was going to win since she was in attendance...damn. I like How I Met Your Mother but was definitely pulling for Tina. And when Alyson thanks her husband, I have to snap back into reality that she's not the lesbian from Buffy...

9:27 20th season of Survivor preview with Jeff Probst!! 10 Heroes vs. 10 Villains. Gotta admit, this is good marketing. Revealing cast....NOW! Rupert! Russell! Colby! Gravedigger who opened bottles with his teeth! Parvarti! Dragon Slayer! Jerri! AHH!!! Go Survivor! I was so excited, I missed the lame promo for "after the commercial."

9:31 Hmm...watching the Grammy commercial, was Kanye West's outburst on Taylor Swift revenge for Vince Gill's knock on West last year? "I just got an award given to me by a Beatle. Have you had that happen yet, Kanye?" He laughed, but what if he's been seething and waiting for his moment, and the VMAs just presented the perfect opportunity?

9:32 Jenna Elfman + Chevy Chase...best presenter duo so far. They star in comedy shows and are presenting for Favorite TV Comedy and realize the injustice, so they split the award...literally.

9:34 Wow, The Big Bang Theory has a cultish following that most have voted a ton. That show freaks me out, actually. Did they really just put up the show's official Myspace page link?? Do people use those anymore?

9:35 They almost cut the cast off, but then Jim Parsons talked and they let him finish...he is his character to a T, it seems.

9:36 Did Christan Slater just introduce "Mary J. BliZe"? I might have heard it wrong. Or maybe he said it on purpose to rhyme with "eyes" like how she punched her boyfriend in the "eyes?" Never mind...that YouTube video couldn't even really prove anything. But weird her song says, "Ain't nobody gonna treat you better/Ain't nobody gonna touch you better." Hmm..

9:45 Who are these people presenting a country award? One is Katie Cassidy from the new Melrose Place and the other is...I don't know. Kellen something? She is the highlight of that show but looks too shiny here.

9:46 Favorite Country Artist - Carrie Underwood. She hugs Keith Urban next to Nicole Kidman and then almost falls coming up the stage, but that shows "how excited she is." Her words. Not mine. Her speech was cute and seemed sincere. She gets a pass.

9:47 Paula Patton from Precious is pretty funny, given the horrific drivel they make everyone say. She presents Hugh Laurie with the Favorite Dramatic TV Actor award.

9:48 Right after she announces it, the annoying People's Choice Award voice also congratulates him, in case we missed it. Why is the whole cast coming on stage?? It's for Best Actor not Best Show! Are they confused? OK. He's dedicating the award to them? No! This is all staged, and they already knew they won Best Drama too, so they did a two-for-one presentation...this blows. Hugh kind of saves this with his own wit and charm, but Hugh Jackman, for one, looks very confused by what's happening.

9:51 No, Will i Am!! He just called Liam Neeson, Liam Nielsen when introducing the Clash of the Titans clip. I KNOW I heard that one. Do these people not practice at all? And they get super-nice gift baskets?? Clash of the Titans looks pretty entertaining though Huge dragons and stuff.

9:53 People's Choice Award Lady just promised us a Sandra Bullock, Drew Barrymore and Kristen Stewart catfight...I'm gonna hold her to that.

9:56 Latifah is back. I forgot we had a host. She jokes with Taylor Lautner about his constant lack of clothing...then makes Nicole Kidman, Taylor Lautner and Keith Urban take a picture with her...

9:57 Taylor Lautner is George Lopez's screensaver?? Ha! Lautner looks like he regrets attending this event right now.

9:58 Aw, George Lopez is not very funny but does make a jab at Tiger Woods' infidelities...

10:00 Lopez announces the winner of Favorite Comedic Film Actress with "You thought she couldn't top her work in Speed 2..." I love Sandra Bullock, but he's right. That movie sucked. It's okay though because they are super BFF in real life after she produced his TV show and made him who he is. Love her speech. You cry and laugh all in one! Makes up for the awkward one for Proposal.

10:02 Fellow Karate Kid (Redux with Will Smith's son) co-stars here. Don't ask Jackie Chan to lift his shirt, Taraji P. Hensen! Just introduce Favorite Action Actor!

10:03 From the nominees, with Hugh Jackman being the only one present, I predict he will win for Wolverine. OMG! I was right...

10:04 Jackman jokes about running for Gov. of California...hmm...then, he ruins the thought by doing a weird chant with someone in the audience and calling it an "action star thing." What. Is. Going. On.

10:09 Parody with Latifah time! This one's New Moon. I am a Twilight fan, but these movies are so easy to make fun of! Robert Pattinson's brooding looks mixed with Latifah's lines is great.

10:11 Inglorious Basterds just won Favorite Movie without other nominees again. Diane Kruger just accepted in France, and now they are presenting Favorite Breakout Movie Actor.

10:13 What a surprise...Taylor Lautner wins. And they show random fan girls in the audience. Oooh, and a quick pan to ex Taylor Swift who politely stands up and claps for her ex beau with her mom. She didn't look angry. Maybe no songs about "hairy, crappy werewolves" will be coming out anytime soon. Possible lyric: "You might be a werewolf, but you sure suck a lot like those vampires.."

10:15 Behind the scenes of glamming up the Miss People's Choice girl. "You've seen her all night..." Actually, I haven't noticed her at all. Oh no! A cliffhanger makeover segment?

10:16 It's official. This can't be for real...People's Choice Announcer Lady just said "Up next, it's a John Mayer vs. John Mraz vs. Keith Urban showdown in the battle for Male Artist." Uh...you mean JASON Mraz??

10:19 Phew, glad they're finishing the Miss People's Choice makeover exclusively from CVS!

10:21 Hmm... a desert island is kinda like Utah. Lost and Big Love unite to present!

10:22 Congrats, Keith Urban! Lucky you had that convenient seat on the front row "just in case" you won. Can they not even pretend they don't tell people in advance?? Keith doesn't care if we all download his music illegally and give it to friends!! And he loves a random man in the audience! Good speech!

10:23 Colbie Collait and Demi Lovato are not at all the same height. At all. Either Colbie is a giant or Demi is a "very short person." Isn't that Producing an Award Show 101.

10:24 Cobra Starship is falling for a "hot mess." Wait, Nicole from Pussycat Dolls is singing with them? Is Gossip Girl filming right now? Where's Leighton Meester? I never really understood why she was featured on this song anyway though.

10:32 Apparently, we can vote at peopleschoice.com for our favorite 3-D movie of 2009, and they will receive the People's Choice award at the "first-ever 3-D Movie Awards Show" in February. I don't get it.

10:33 New category: Favorite Web Celeb presented by Jessica Alba, who took a picture of the audience and promised to "tag" them all. I don't think she has a Twitter or anything, but I could be wrong. Actually, after that pitiful picture-taking performance, I don't think she owns a camera.

10:35 Ashton Kutcher wins. Which is rightly so. He's pretty much the King of Twitter, whatever that means. If Miley Cyrus had won for "deleting her Twitter and then rapping about it," that would have been quite the outrage. I still can't wait for the "I Love 2009" VH1 special when we look back at Kutcher's online celebration for beating CNN to 1 million Twitter followers. There have to be some good jokes there.

10:38 Favorite New TV Drama category has made this guy from Lost angry. I don't watch Lost, and I don't remember his name. The Cold Case lady is really excited that Vampire Diaries won because she used to work with the cast or crew or something. "And now, they're all in Georgia working with the vampires..." but she should have said "freezing their asses off."

10:39 Favorite New TV Comedy goes to Glee, and the entire cast is in attendance. Except for Sue Sylvester and Mr. Schuester. :( Glee bought the entire audience pizza?? They're giving it to random people in the audience! Pretty good acceptance! Wait, this is promoting stupid DiGiorno...People's Choice Lady ruined everything..

10:45 LL Cool J presents Favorite Female Artist to Taylor Swift. She beat out Beyonce again...uh-oh!

10:48 All is calm though and T.Swift just thanks her fans lots and lots.

10:50 Donate to Children's Safe Drinking Water! $10 provides a week's worth of water for 70 children?? That really is amazing.

10:54 Latifah just gave Sacha Baron Cohen the distinction of probably being the only one to have sat on Eminem's face. But isn't Mariah Carey there?? Oh, snap! ha...

10:55 Cohen is actually really subdued when presenting a missing Johnny Depp with Favorite Movie Actor, who he tells us has received more votes in the last 10 years than any other actor, so he just won Actor of the Decade too! Is he getting a little tribute and isn't even there?

10:56 He's there! He's there! Like how Cohen called him "Mr. Jonathan Depp." What his Johnny's deal with not ever sitting in the audience like normal award-getters? He always creeps out from backstage at these things. Oh well. I guess he's allowed.

10:58 Hmm... Johnny thanked all of us for "bestowing our treasures" on him. Not sure what that means and neither does Queen Latifah - that's the end of the show!

Streep Has ‘Complicated’ Decision Between Baldwin, Martin

2010-01-05T21:46:00.011-05:00

It’s Complicated

2009

film review

by Mandy Rodgers

Rated: R

Director: Nancy Meyers

Starring: Meryl Streep, Alec Baldwin, Steve Martin, John Krasinski, Lake Bell, Mary Kay Place, Rita Wilson and Hunter Parrish

For the past several years, it is often uttered in film communities and theaters, “Is there anything Meryl Streep can’t do?” After her last couple of roles ranging from the evil Miranda Priestly (The Devil Wears Prada), to the sing-songy Donna Sheridan (Mamma Mia), to the virtuous Sister Aloysius Beauvier (Doubt) and finally to this year’s iconic Julia Child (Julie & Julia), it’s no wonder she’s the most Oscar nominated actress in history.

In her latest outing, Streep might not act menacing or dance around a beautiful locale, but she still shines, proving that she can also portray the everywoman and someone her fans and peers can identify with.

Meyers directed and wrote It’s Complicated, a romantic comedy in the same vein of her previous films Something’s Gotta Give and What Women Want. She focuses her works on middle-aged women, their struggles and romantic conflicts. Meyers and Streep are actually the same age (both turned 60 last year), so she must know this demographic well.

Jane (Streep) is a divorcee past the point of wallowing in self pity but not quite relishing in her free sexuality. Her ex-husband Jake (Baldwin) cheated on her with the younger Agness (Bell) and then married the other woman who now wants to get pregnant again. (She has one child already.)

The two have been divorced for 10 years, so now can be cordial at special events. The rancor and deep anger has subsided, but the relationship is strained. Jane keeps herself busy with her bakery (two films in a row Streep plays a cook of some sort—did she miss her calling?) and the major project of building an addition to her Santa Barbara home with the help of architect Adam (Martin).

On a family trip to watch their eldest son graduate college, Jane and Jake find themselves at the same hotel bar all alone. He comments on her hair, she continues to chug wine and before they realize their ‘80s dance moves are outdated, they have fallen into bed together.

It seems the uncomfortable couple somehow managed perfect sex—Jake is ecstatic and glowing. But reality rears its head as Jane throws up in the nightstand drawer, and the audience appreciates Meyers’ honest story.

From that fateful night Jane has a crisis of consciousness and struggles to determine if her emotions for Jack and the affair are left over from the defunct marriage or could be something genuine. She consistently yields to his charm but mostly with deep consternation. All the while, Jane is getting to know super-sweet Adam, creating her current conundrum. Cause, hey, it’s complicated.

The plot lends itself to complication, but the movie does not push into any confusing directions. Jake is quite obnoxious, and how he was ever married to plucky Jane in the first place is the real question. And why did he wander to Agness, one of the most lukewarm mistresses in film history?

The material covers perhaps a popular subject to consider after ending a long-term relationship but from loathe to lust to love in five minutes flat seems highly improbable.

Meyers’ script is amusing and Streep carries the movie on her brilliant radiance, but somewhere this talented cast stumbles a little. Martin remains subdued, something he decently plays but leaves us longing for at least a slight pizzazz. Also, to have an R rating, It’s Complicated is extremely tame aside from a too-long scene involving weed, which begins splendidly but quickly wears out the gag.

A little predictable, It’s Complicated finds a fresh spin on the story through Strasinski’s character Harley, fiancée to the rekindling couple’s older daughter. He unwittingly witnesses the duo’s rendezvous and wishes he could forget what he saw immediately. Jake and Jane’s actual children leave little impression, but more focus on Harley would have elevated the movie.

Still, after It’s Complicated it’s hard not to understand the draw to Streep’s movies. I’m starting to agree with the flamboyant and Streep-loving Cameron (Eric Stonestreet) in ABC’s new sitcom “Modern Family,” when he said “Excuse me, Meryl Streep could play Batman and be the right choice. She’s perfection. Whether she’s divorcing Kramer, whether she’s wearing Prada…don’t even get me started on ‘Sophie’s Choice.’” You’re right, Cameron.

These 'Brothers' Struggle to Maintain Family

2010-01-02T18:28:00.007-05:00

Brothers

film review

by Mandy Rodgers

2009

Rated: R

Director: Jim Sheridan

Starring: Jake Gyllenhaal, Natalie Portman, Tobey Maguire, Clifton Collins Jr., Bailee Madison, Sam Shepard, Mare Winningham, Taylor Geare and Patrick Flueger

Several years after talks of Gyllenhaal replacing Maguire in part of the Spiderman franchise subsided, someone, somewhere (perhaps casting director Avy Kaufman) realized the two could play convincing brothers. Maguire (playing the eldest in film and in real life) is Capt. Sam Cahill, a standup husband, son and father about to begin a UN mission in

Afghanistan

. Sam has just picked Tommy (Gyllenhaal) up from jail when the movie begins, immediately demonstrating the dichotomy between the two brothers. Sam is always the magnanimous one helping his younger sibling. Tommy has screwed up his life with armed robbery and now drinks to ease the pain of his own embarrassment and his father’s disapproval.

After an uncomfortable family dinner to welcome Tommy home and send Sam back overseas, it’s evident that this family has deep-seeded issues, starting with Daddy Cahill, Hank (Shepard), who does not keep it a secret how much he favors the older son who followed in his prestigious and honored military footsteps. Grace (Portman), Sam’s wife, struggles to keep the dinner in order and her daughters—Isabelle (Madison) and Maggie (Geare)—out of the conflict.

As soon as Sam leaves, it’s no secret that he won’t be coming back immediately. The plot revolves around Sam’s believed demise and Tommy’s growing spot in Grace, Isabelle and Maggie’s life. The trailer is very misleading though, and the direction it points their relationship in is non-existent, however, all of the shown themes run through the film.

Sam returns to his home after a horrific experience in war-torn Afghanistan being kidnapped, held hostage and led to perform unimaginable tasks. When he sees the new bond that formed between his brother and family, he can’t handle it and automatically confuses suspicion for truth, isolating himself from everyone.

Even though it’s a Hollywoodized version of the Swedish original Brødre, Sheridan’s Brothers still sends a powerful message to and about those dealing with war-related troubles in family life. Like one of this year’s acclaimed films, The Hurt Locker, Brothers explores the problems soldiers suffer from when returning to normal life. The instances examined here seem a little dramatized but all possible, and many are feeling similar effects every day in America.

Portman is all grown up playing a doting, devoted and strong woman. She often puts aside her own sadness for her two young daughters, but the pain of losing a husband, joy of getting a second chance and inevitable confusion as to how to help him is all evident in her eyes. Gyllenhaal remains thoroughly likable throughout the drama, even when he’s boozing it up at the local bar. Anyone who has dealt with disapproving parents can identify with Tommy’s plight.

The real enigma is Maguire. At the film’s start—before his gut wrenching tribulations in Afghanistan—he seems a little off. Painted as a beautiful and loving family portrait, Maguire’s Sam is unlikable from the start. Perhaps the rigid and structured life he leads as a captain has an effect, but the early scenes make the later ones—where he’s wild-eyed and crazed—less shocking. Still powerful, but less so than if he was emotionally available to his family from the film’s opening. Grace loves Sam, but Portman and Maguire have zero chemistry, and their love affair’s believability suffers from that. I actually agreed with Isabelle’s much-discussed outburst at the dinner table during a pivotal scene.

Both Madison and Geare provide several poignant moments in Brothers. These little girls (like their mom) experience several emotions ranging from depression to elation to utter fright, and each of their performances are remarkable. Isabelle grows so close to Uncle Tommy, she resents her father’s surprising return, and Maggie does not quite see her parents’ strife but senses something unsettling.

The character-driven drama offers little closure at its conclusion, like many wars or soldiers’ personal battles in society afterwards. Melodramatic moments sporadically litter the film, but the bulk of the material is complex and thoughtful, giving a hapless situation a sense of hope and improvement. The screenplay stays contemporary, yet keeps the plotline intact from the original, and Sheridan’s direction—minus Maguire pre-kidnapping—gives a candid look into this family’s attempt to overcome a considerable obstacle.

U2’s song “Winter” and Maguire’s performance were both nominated for Golden Globes. Madison also was nominated for a Critics Choice Award.

Stunning Avatar Tells Familiar Story

2009-12-28T20:37:00.003-05:00

Avatar

film review

by Mandy Rodgers

2009

Rated: PG-13

Director: James Cameron

Starring: Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang, Michelle Rodriguez, Giovanni Ribisi, Joel Moore and Laz Alonso

For 12 years, we waited for Cameron’s epic follow-up to his super-mega-hit Titanic, and for numerous years before that, he had been plotting the film that would come to be Avatar. The technology was not ready for what Cameron envisioned, so he continued developing the movie until what he needed was available at a “reasonable” price. Reasonably priced is relative, however, as its budget reportedly exceeds $280 million at least, making it one of the most expensive films ever made, but Cameron is no stranger to uphill battles for funding and profit. His aforementioned blockbuster was the first to have a budget of $200 million.

During the time he took to make Avatar, many wondered what exactly he was up to. Film critics and avid moviegoers knew the project would employ special effects and speculated to what degree Cameron would utilize 3-D and IMAX aspects—two pieces of filmmaking still coming into their own. In 2007, I quoted film theorist David Bordwell in a newspaper article at a lecture he gave: “The number of admissions today are falling,” Bordwell said. “So what’s the answer? Well, 3-D is coming back big and showing regular theatrical releases in IMAX format. James Cameron is convinced that 3-D is the future of cinema.”

After seeing Avatar in its full 3-D, IMAX glory—the way he intended and I recommend—one thing is for sure, Cameron is a unique and dedicated filmmaker with this latest piece of entertainment that he spent countless hours perfecting. The entire fete from start to finish is visually stunning like a painter’s masterpiece or photographer’s claim-to-fame shot. The 3-D elements are not gimmicky or in-your-face but subtle and soothing, particularly in aerial shots over the entire world that is Avatar.

But what is Avatar all about, anyway? Unfortunately, that part is where Cameron’s labor of love falters.

Set some 100-plus years in the future, Avatar revolves around the conflicted plight of Jake Sulley (Worthington), a paraplegic marine, who has been asked to take his deceased brother’s place in a scientific mission on the moon Pandora. Here, another species—the Na’vi—rule, but a greedy corporation ran by narrow-minded Parker Selfridge (Ribisi)—and helped by the sinister Colonel Miles Quaritch (Lang)—wants to obtain a profitable element that resides under the Na’vi home. Technically, Jake is working solely with the scientific group (consisting of Dr. Grace Augustine (Weaver) and Norm Spellman (Moore)), analyzing the humanoids with a new-fangled technology that allows them to inhabit a Na’vi body designed specifically for them.

From a possibly promising premise, many obvious movie clichés follow as Jake (in Na’vi form) meets and falls in love with Neytiri (Saldana), a swift and sassy princess of the native tribe. Half-way through, I actually felt like I had seen this movie before and discovered that one of my childhood favorites—Ferngully: The Last Rainforest—was evident through and through as a human in a foreign form quickly adores a creature in tune with all things nature. Other movies have also been referenced and draw obvious comparisons, like Dances with Wolves, Delgo and more far-fetched ones like Hellboy and Willow.

Weaver—a previous Cameron film star in Aliens—effortlessly slides into her role as Grace, a scientist yearning for a way to save the Na’vi and their home from corporate takeover. Lang’s evil colonel has a cartoonish disposition, but it works in the alternate reality Cameron has created, complete with a made-up language by linguist Paul Frommer. Leading man Worthington is often unrecognizable and not just when in blue alien Jake form. The standout is Saldana, who makes these odd creatures seem completely human and identifiable.

Avatar’s cinematography and direction is nearly impeccable. Throw in James Horner’s score, and a great movie should result—in many aspects, it does. Suddenly the conundrum of an original and intriguing story’s importance in a film’s success rears its head. I’m not sure how well Cameron’s predictable epic will work in a conventional theater without 3-D dazzle, let alone a home TV screen, and that is a definite drawback.

However, Cameron’s diligence and extremely, painstaking effort deserves much credit and recognition. Creating a universe and characters like the one in Avatar is no easy task. Hopefully it doesn’t take another 12 years for him to seamlessly join idea, story and effects.

Classic Story, Animation with Disney Twist

2009-12-27T02:54:00.000-05:00

The Princess and the Frog

film review

by Mandy Rodgers

2009

Rated: G

Director: Ron Clements & John Musker

Starring: (voices) Anika Noni Rose, Bruno Campos, Keith David, Michael-Leon Wooley, Jennifer Cody, Jim Cummings, Peter Bartlett, Jennifer Lewis, Oprah Winfrey, Terrence Howard and John Goodman

To keep things candid, I have been waiting with baited breath for Disney to regroup and make a feature film using hand drawn, 2-D animation since the 2004 misstep Home on the Range. A back to basics, classically styled film for all ages. Pixar’s growing list of films rethink animation as a tool for filmmaking and none have been short of phenomenal, but the hand drawn films can take audiences places that computer-generated images simply can’t yet.

Several years ago, The Princess and the Frog began its journey to the big screen, and though the box office receipts are not earth-shattering, the film hopefully will show the need for this kind of animation in filmmaking and emerging childhoods. This special retelling of the classic Brothers Grimm story “The Frog Prince” revolves around Disney’s first African-American heroine as well, the young Tiana, who actually isn’t a princess at all—to start.

Voiced by relatively the unknown (like much of the voice talent) Rose, Tiana is the first career-oriented heroine in Disney’s 75 years. She yearns to open her own restaurant in her hometown of New Orleans at a spot her and her father James (Howard) picked out years ago—fulfilling a dream they both had. She’s worked diligently her entire life and can solely focuses on the renovated spot for her Cajun-influenced dishes in the Jazz-era Louisiana city.

Tiana’s mother Eudora (Winfrey) is employed with the wealthy La Bouff family as a seamstress and nanny for the spoiled, yet somehow charming, Charlotte (Cody). One fateful day Prince Naveen (Campos) of Maldonia visits the Big Easy, and Charlotte immediately decides they should marry. However, unexpected turns of events happen—highlighted by evil Dr. Facilier’s (David) villainous plans—and Naveen is turned into a frog. More confusion surrounding Tiana’s identity occurs, and she too is transformed into a slimy amphibian, forcing the two frogs to travel through the bayou searching for a way to fix their current conundrum.

The bulk of The Princess and the Frog is spent with the two protagonists unexpectedly slurping flies and leaping with long green legs, which gives the film a sense of two worlds in one—the talking animal land and the mystical human world. Though Tiana and Naveen are polar opposites and hate each other at first, of course true love blossoms during their journey with delightful comrades like Ray (Cummings), the romantic firefly, and Louis (Wooley,) the music-loving alligator. These two characters provide the most laughs and fun in the plucky, fast-paced fairytale.

With Clements’ and Musker’s seasoned direction (the duo was responsible for The Little Mermaid and Aladdin), The Princess and the Frog succeeds in bringing a likable 2-D animated fairytale film to the cinema, complete with Randy Newman’s toe-tapping original songs that don’t just serve for simple soundtrack fare but help push the story along.

The movie’s main couple does not fit the typical bill of Disney legend, and I wonder if some were offended by Tiana’s misfortune and less-than-enviable position in society or Naveen’s skirt-chasing prince lacking the riches to accompany the title. I considered Tiana’s career-minded focus a refreshing and realistic change from the typical “Someday my prince will come” collection of heroines and Naveen’s flaws were actually appealing vs. too-good-to-be-true Prince Charmings, but others might not see it that way.

Disney’s latest outing is no The Little Mermaid or Beauty and the Beast, but it’s a great step back into the formula that gave the House of Mouse much of its acclaim. The voice acting is so practically perfect, Mary Poppins herself would adore the efforts. Also, after the beautiful yet downtrodden Up and the clever but apocalyptic Wall-E, kids are ready for a happily ever after story from Disney animators. All of the necessary elements of a timeless fairytale are there—approachable hero/heroine, ghastly villain, hilarious sidekicks and an amusing story to tie it all together.

Just like Tiana will join Belle, Jasmine and Snow White in the popular princess collection merchandise, The Princess and the Frog will easily slide into the Disney vault alongside the likes of Bambi, Pinocchio and Sleeping Beauty.

'Precious' Filled with Anything But

2009-12-09T21:59:00.002-05:00

Precious: Based on the Novel Push by Sapphire

film review

by Mandy Rodgers

2009

Rated: R

Director: Lee Daniels

Starring: Gabourey “Gabby” Sidibe, Mo’Nique, Paula Patton, Mariah Carey, Sherri Shepherd, Lenny Kravitz, Stephanie Andujar and Chyna Layne

Perhaps the most harrowing and disturbing film I’ve seen to date, Precious starts with abrupt force and does not stop terrifying until the final credits roll. Without a way to put it mildly, the film revolves around Precious (Sidibe), a young teen in Harlem who’s pregnant with her second child by her father. Shockingly, that’s only the beginning of the abuse alluded to and seen in the film Precious endures—the off-screen transgressions are often times just as hard to stomach as those explicitly shown.

She’s overweight and illiterate and forced to live with a “mother” (hard to give her that title) named Mary (Mo’Nique) who consistently degrades, objectifies and tortures her. Her only way out is through a fantasy life, which consists of model boyfriends and a fancy wardrobe.

At school, Precious’ teachers notice her education issues and the dilemma of her pregnancy and recommend she attend an alternative school, which can focus more on her and her specific needs.

Somehow, Precious senses a needed escape from the horrific life she leads and finds the courage to step inside a small classroom with misfit teens and study under the personable Ms. Rain (Patton)—an angelic creature vs. the other adults around the teen.

Ms. Rain is a ray of sunshine (completely the opposite of her namesake) in Precious’ completely dismal days filled with misunderstanding and abuse to the nth degree in every way, shape and form. It’s unfathomable the horrors that Precious lives through and the rough existence she has lead.

While learning from Ms. Rain, Precious begins to see a positive part of life and believes she can make a way for her and her two children. Helping her are the stories and strengths of her classmates and even the humor that they bring to the tale to lighten the load of the depressing story. The screenplay weaves genuine laughs throughout, giving the viewer a chance to un-tense, even for just one moment.

A breathtaking climax between Precious and her mother send the theater silent and gasping for air as these two individuals come to a day of reckoning.

Daniels’ direction keeps the heavy-handed material from becoming melodramatic or hard to identify with—somehow terrors no one could imagine transform into film about any woman overcoming obstacles.

With tons of Oscar buzz, the acting all around is superb. To start, Sidibe is a real find as the leading lady, a layered and intriguing woman with everything stacked against her who perseveres to prove naysayers wrong. Precious inhabits one of the most gut wrenching worlds ever to hit the screen, and Sidibe personalizes her struggles, so by the end the audience knows her and has traveled alongside her.

Mo’Nique turns her own persona on its head as one of the most despicable movie villains, perhaps, of all time. The typically comedic actress throws the audience into emotional upheaval—let alone Precious—and try to finish the film without a deep hatred for the truculent, savage, esurient, greedy Mary. She is a lock for a Best Supporting Actress Oscar nomination at least. Somehow, Mo’Nique has achieved supervillain status with one film.

Patton juxtaposes the two stars well with a subtle and caring disposition heavily needed for the tenebrous and gloomy movie. Supporting the powerhouse performances are pop stars Carey and Kravitz, both broadening their repertoires here as a social worker and nurse, respectively. Carey is extensively toned down from her superstar, diva attire and shows heart and grace in a small, yet pivotal role. Kravitz’s part also is strictly supporting, but it’s nuanced and the two singers

Precious is not for the faint of heart and leaves a haunting impact on anyone with a soul watching. Those who see the film and are not affected might want to check their pulses. I can’t believe it’s possible.

To think that the original book version—“Push: A Novel.” by Sapphire—is even more graphic stuns me, but the testament here is that amid all the chaos and dysfunction, Precious inspires and sheds light on many issues girls around the world are facing on a daily basis.

With or without all the touting Oprah and Tyler Perry have done with Precious, it deserves every recognition it receives this awards season and hopefully reassures other precious teens that they too have an opportunity for change.

Michael Jackson’s Final Concert That Wasn’t

2009-12-05T18:23:00.008-05:00

Michael Jackson’s This is It

film review
by Mandy Rodgers

2009

Rated: PG

Director: Kenny Ortega

Starring: Michael Jackson and backup dancers, crew, etc.

After the whirlwind publicity storm that was the unexpected and eerie death of Michael Jackson this summer, the idea of a concert film so soon at first lacked appeal. His life, career, death and the mystery surrounding all of the above was splattered ad nauseum through any kind of news and pop culture channels available. I actually dubbed Entertainment Tonight, Michael Jackson Tonight after the onslaught of coverage and addition of a Michael Jackson expert after his death.

Don’t get me wrong; I am a fan of the King of Pop and was saddened by his death and the tortured existence he seemed to lead. Whatever anyone’s thoughts on his personal struggles, no one can deny the talent and extraordinary impact he had on all things music and dance. Unfortunately for many, his last set of 50 concerts in London, titled “This is It,” was not to be. Fortunately for all, his preparation and dedication to the craft was documented on one of the most intriguing looks into a concert tour and a legendary star.

The film begins with a brief opening explaining the concert and that it will never be. His backup dancers from all around the world are (as you can expect) huge fans of the King, who they affectionately call MJ for much of the film. Excitement cannot begin to describe how they feel when chosen to dance behind the one who brought us the moonwalk and “Thriller.”

Leading the amazing musical feat is Kenny Ortega, producer, director, choreographer for MJ’s tour. Ortega worked on swinging classics from yesterday (Dirty Dancing) and today (High School Musical), among other things, and had befriended Jackson years before they teamed up for the mega-concert.

This is It launches into the music everyone has come to expect from Jackson, starting with what would have been the concert’s opening, “Gonna Be Startin’ Somethin'.” The audience immediately settles into a private look into a Michael Jackson concert as the finishing touches are being placed. The energy of his music is undeniable and unbeatable—I defy you to not move and dance a little (or a lot) in your theater seat. All the No. 1s are here, complete with Jackson singing, dancing and instructing others how to do it right.

He teaches the backup dancers, instructs the musicians and suggests (is it still a suggestion if Jackson gives it to you?) ideas to improve and enhance the experience for the audience. It’s for the fans. He even delves into his childhood history with Jackson 5 tunes. His hand is in every single minuscule aspect of this performance, and this performance is massive. Along with dancing and singing galore, the sets tower over the dancers. Some sequences are pre-filmed for added effect, including an inventive one with MJ superimposed into a black and white drama starring Humphrey Bogart and Rita Hayworth. Jackson’s stamp is on all of these bedazzling aspects.

He’s so punctilious and exact that others could be put off, but with MJ asking for perfection, it doesn’t seem demanding. His soft-spoken demeanor appears as nothing but sincere and dedicated. At one point, Ortega almost has to treat MJ as a child, acting dangerous on a lift; at another time, Jackson is instructing his musicians to let the music “simmer” before launching into the new beat. This dichotomy represents the star’s real-life turmoil perfectly.

Considering the drug use and odd doctor visits, I did not expect to see Jackson able to perform to this standard. Other than looking a little on the thin side, Jackson appears to be in great health and have the focus of someone unaffected by anything but the music. All of the reports that he could barely make it to rehearsal should be put asunder after these scenes are watched. Joe Jackson’s claims that it’s not his son’s image on the film seem completely inaccurate and ludicrous after a viewing too. It’s clear. The King of Pop was prepared to give his fans the thrill of a lifetime.

This is It was never meant to be shown to anyone, so it’s quite flabbergasting how it plays so well onscreen. Without too much crazy editing, foofaraw or ornamentation (the concert itself takes care of that) the footage is simple yet powerful—perhaps another ode to its star. With his personal demons aside, MJ proves he was the master of entertainment up until his final moments.

For any fan of the singer/dancer or of musical shows in general, This is It is a must-see. The fact that the concert he worked so painstakingly hard to develop will never come to fruition remains a melancholy reality check after the final credits have played. And it’s quite a shame too. What a concert it would have been.