I'm not exactly thrilled by any of these choices by name alone. I actually would have loved to see Albert Brooks nominated and win for his role in Drive, which was fantastic. I have only seen 2 of these prior to my reviewing and both were kinda average. Plummer's nomination is intriguing because he is the clear cut favorite and will most likely win the Oscar, so it'll be interesting to see if it is actually worthy. 2011 is shaping up to be the year of the mediocre nominees in every category.
2011 Best Supporting Actor
Christopher Plummer - Beginners
We don't get to see enough of Hal (Plummer's character) in my opinion, as we are force fed these endearing moments in his later life as he embraces his homosexuality with a zeal and vigor of a much younger man. You can't help but like Hal as he is far from flamboyant, taking a more earnest approach as if coming to terms with his new found out-ness is like finding he really enjoys making pottery or playing the tuba. We are immediately aware that Hal has passed away since the story is told in flashbacks and we are told he is gay in the very beginning, which unfortunately doesn't allow the audience to organically form their own opinion of Hal. Plummer is a man in complete control of his craft and embodies the role perfectly. His portrayal of Hal is honest and believable, if lacking in true originality, and he plays the character with a sweet sincerity. Unfortunately, we never get past the face value of Hal, never dive into his soul to see who he really he is and why he is that way. This keeps the performance from being truly well-rounded and makes it feel a little one-note at times.
Kenneth Branagh - My Week with Marilyn
I can't say that I know all that much about Laurence Olivier and what he looked like but I do know Kenneth Branagh from all his Shakespeare productions and I can't envision him as one of the most beloved British actors of all time. He plays the character like another Shakespeare creation and really goes full earnest. What it really reminded me of is Kenneth Branagh playing whoever and being perturbed that Monroe dares to screw up her lines and get the scene wrong. This grew to a hot indignation at her diva-like behavior that he ultimately wasn't able to do anything about. He would let Monroe take as much time as she wanted before she galloped out to do her thing while the rest of the cast and crew scrambled to get in place. Branagh is an amazing talent to be sure and does a requisite job for getting his character of Laurence Olivier across but it never delved into depth or nuance and never asked anymore of Branagh, especially when his character demanded it of Monroe. It's painfully obvious, too, that Branagh wants so very much to be the acting royalty Olivier is and while he may be inspired, his performance is not inspiring to us the viewer.
Jonah Hill - Moneyball
Hill's role as Peter Brand is used essentially as a character for which Pitt to act against and bounce his snappy dialogue back and forth with. That's not to say that Hill's superbly understated role as the geeky, nervousy, computer whiz is underutilized. The character does a great job of balancing Pitt's hyper and somewhat manic-y Beane and acts as the comic foil to what could be some of the more serious, yet boring, moments. Hill understands when to hold back and let Pitt do his thing and when to turn up the acting volume and hold his own. There's times when Hill (and his character) come off timid when going up against Pitt, but Hill is able to nicely settle into his role, and eventually by the end of the film -- own it. Hill allows the character to dictate how things go and his decision to not ham it up when the opportunities present themselves (which must be hard for a comedic actor) speaks to his acting ability. The subtlety of his character and his actions helps buoy this performance into another level.
Nick Nolte - Warrior
I've read in various places that this is the quintessential Nolte role and while I haven't seen enough of his stuff to say so otherwise, I know of his issues and reputation. It would seem Nolte is playing a version of his actual self with this role and that it's not exactly much of a stretch. Where does one draw the line for acting and reality? And should the fact that we can't tell the difference mean it is good or bad? I tend to side with it's good because I assume most actors act from experience or at least by studying someone like their character. To say Nolte is believable in Warrior would be an understatement, as he is effective as the recovering alcoholic father who once physically abused his two sons before they left him. While it's clearly a good performance, it's not exactly as powerful as it should be - especially given the subject it's dealing with. It should have been a chance to really wow the audience and steal scenes but that doesn't really happen. Maybe I'm being a bit harsh because I actually did like Nolte in this film (which is a lot better than I thought it would be), I just would have liked a little bit more from him.
Max von Sydow - Extremely Loud and Incredibly Close
An interesting year for silent performances. Max (because it's shorter than typing out von Sydow) does an admirable job in this 9-11 weepy about a boy coming to grips with the loss of his father. He plays an old mute who travels with Oskar as he tries to find where a key he found in his father's closet belongs. Max has a very tired and weathered face that is extremely expressive and it helps add to his charm throughout the film. Max becomes a pseudo father figure for Oskar during their time together and plays his character with a genuine aloofness that can be somewhat endearing. But his emoting begins to lose its luster after a while and the scenes begin to feel a little repetitive. And even though this is Oskar's story, we never get a chance to delve into Max's character and why exactly he turned mute besides an all too brief scene in a bar that only scratches the surface. There's way more to this character than is presented here and for that reason this performance only satisfies a tiny bit of my hunger for a role that could be more fulfilling.
Overall, these nominations are pretty underwhelming. Nothing stands head and shoulders above the others and it really seems to be the theme for this year. I'm not sure what that says about film in 2011 or the Academy, but I think they may have made more than a few mistakes in their nominations. Which just gives more fuel to the fire that the Academy is out of touch with what the current public and critics love. If and when Plummer wins, he will be the oldest Oscar winner ever at 82. Neither Nolte nor Branagh did all that much for me and both von Sydow and Plummer gave performances that were about equal in my estimation. They didn't exactly wow me, especially Plummer who will probably win, which I was really hoping one them would. Hill is my favorite just due to me liking the character and the subtle performance he gave. I don't really understand the derision Hill has received for being nominated and how badly he has been put down in some blogs and prognostications sites. I can only think that his comedy background is the reason anyone would hate on him because his role really speaks for itself. Maybe it has to do with others wanting von Sydow or Plummer to get their first Oscars as nods to their careers. If I had my way, Albert Brooks from Drive would have been nominated and would have been my winner. Sadly, I have no Academy vote.
Oscar Winner: Christopher Plummer - Beginners
My Winner: Jonah Hill - Moneyball
Christopher Plummer
Max von Sydow
Nick Nolte
Kenneth Branagh
Sunday, February 26, 2012
Tuesday, February 21, 2012
Supporting Actress 2011
This is my first time doing my reviews in the midst of the Oscar race and it's really been a lot of fun. Seeing the race develop from the very beginning has been eye opening. And reading all the many different blogs and articles about which person or movie would and/or should be nominated was interesting to see just how wrong our predictions can be. I love knowing how the race shaped up and knowing that when I look back on this year that I'll have a more in-depth, personal knowledge of it instead of relying on Oscar history books and wikipedia! Normally I might have already seen 1 or 2 performances and would need to see the rest to make up my mind, but of course all of them were new so this has been refreshing and let's me know what it'll be like when I get deeper into this.
2011 Best Supporting Actress
Octavia Spencer - The Help
The presumed front runner, it is all but assured that Spencer will win. But does she deserve to? I'm inclined to think otherwise, but her performance is by no means bad. Her character, Minny, is very broadly written and comes off very much like a stereotype at times. Minny is the strong black woman who takes no shit when it comes to her daughter, her work, her friends but suffers violent abuse at the hands of her (presumed) husband. Spencer does act with an earnestness that is refreshing at times but during others, you half expect her to snap her fingers in the air three times and say "Mmhmm" and a laugh track to start playing. A lot of the issues stem from the actual story which is far from being Best Picture worthy, but Spencer does her best to give Minny the depth the character deserves. However, for what should have been a fully fleshed out role, it falls victim to the kid gloves treatment the whole movie is subjected to and that's a shame for Spencer.
Berenice Bejo - The Artist
It is no small feat to be able to steal scenes from the uber charming Jean Dujardin and uber cute Uggie the Dog, but steal scenes Bejo did. She plays the role with pitch perfect simplicity. From the first time we see her getting her picture taken with Dujardin's character and parlaying that into working on silent films as an extra, she deftly conveys the shy, young, demure girl trying to break into Hollywood. As her roles increase and she becomes a major star with the advent of the talkies, we see her remain gracious and pure from the stain of Hollywood's brutality. She even shows concern for her former inspiration, George Valentin, as he fails to adapt to a movie business with sound drowning out the silent era he reigned over. Bejo does this all very convincingly, keeping up with her charismatic co-stars with equally expressive faces and movements that really show off her acting abilities. However, it becomes obvious through the movie that Bejo is merely a character for Dujardin to interact with as we experience his ups and downs. There's not a whole lot of depth to the character of Peppy (who lives up to her name) though Bejo does a marvelous job with what she is given. She's a sweet, caring, loveable woman who avoids any real conflict that could challenge her and push her performance from good to great.
Jessica Chastain - The Help
I feel this nomination is due more to Chastain bursting onto the scene with 7 different movies in 2011, 6 of which were critical and/or commercial successes, rather than on the merit of this role itself. Chastain's character, Celia, is a dopey, newly married, white trash southern woman who is in over her head as she tries to fit in with the other society women in town. She is an outsider who has married into wealth and the other women can't stand her uncouth behavior. So she takes on Spencer's character as a maid and treats her as a sort of equal and confidant. Chastain is essentially used as a character to show that not all of the white society women are evil racists and that they can somewhat coexist with "the help." Chastain does a convincing enough job in her role, one that is sincere in her innocent personality, which further shows how The Help treats its subject with kid gloves.
Melissa McCarthy - Bridesmaids
I'm still a bit unsure if this performance deserves its nomination here or if it just rode the popularity of the movie into one. That's not to say I dislike McCarthy in this movie. She is actually the flat out funniest thing about Bridesmaids, which says a lot about her comedic chops that she can come out on top in a movie featuring many other funny women. But how much of it is people overreacting to there finally being a raunchy, all-girl, gross out movie that rivals some of the many similar movies that feature mostly men? I could see a Jack Black or Zach Galifianakis filling the same type of role and getting no Oscar love though they might be equally as funny. It seems odd to me that this would get nominated as if a woman playing this type of comedic role is more worthy because it is so rarely done. Or maybe I'm reading too much into it because I'm definitely for more comedy roles and movies being included in these awards, male or female! McCarthy does steal almost every scene she is in, though I do feel she is given some of the best writing (although I'm sure some is improvised) and best situations with which to act in. I'd say that her character makes this movie worth watching on her own and helps elevate it to a level where awards talk isn't totally unwarranted.
Janet McTeer - Albert Nobbs
Janet McTeer is the only good thing about this movie, so I can understand why she was nominated here. When her character first appeared onscreen, it took me a good while to tell that she wasn't actually a man (obviously I had never seen McTeer before to be able to tell differently). The make-up and effects were obviously very good, but the mannerisms and voice of McTeer really helped to convince me she was a man for the first part of the film. What really impressed me was that in every scene she is in, even with Glenn Close, she acts circles around everyone else. She completely owns this otherwise dreadful movie and is its only saving grace. She gives a decent and believable performance that is sabotaged by a weak script and an awful role by Glenn Close that would make me look like an accomplished actor.
This group was really underwhelming and it feels like I say that about almost every Supporting Actress category so I don't want to come off as some sexist guy that hates women actors. I think the Supporting category lends itself to having some performances get nominated that aren't exactly worthy and we all know the Academy indulges itself in whatever suits their whims. So you might get lifetime achievements, make up nominees, or ones that make the Academy seem hip or not the stuffy club it really is. But with all that said, all I want is good performances that blow me away more than leave me wanting more, men or women. None of these 5 performances really wow me. In fact, they all are about the same in that you could mix em all up and randomly rank them and I'd probably be ok with all the different iterations. I like things about all of them just as I dislike different things about all of them. I don't think I can definitively give the win to any of these (though I think I like Bejo's performance the best so far) and I feel I may need to give these a little distance in time to better judge their impact on me.
Oscar Winner: Octavia Spencer - The Help
My Winner: Berenice Bejo - The Artist
Octavia Spencer
Jessica Chastain
Melissa McCarthy
Janet McTeer
2011 Best Supporting Actress
Octavia Spencer - The Help
The presumed front runner, it is all but assured that Spencer will win. But does she deserve to? I'm inclined to think otherwise, but her performance is by no means bad. Her character, Minny, is very broadly written and comes off very much like a stereotype at times. Minny is the strong black woman who takes no shit when it comes to her daughter, her work, her friends but suffers violent abuse at the hands of her (presumed) husband. Spencer does act with an earnestness that is refreshing at times but during others, you half expect her to snap her fingers in the air three times and say "Mmhmm" and a laugh track to start playing. A lot of the issues stem from the actual story which is far from being Best Picture worthy, but Spencer does her best to give Minny the depth the character deserves. However, for what should have been a fully fleshed out role, it falls victim to the kid gloves treatment the whole movie is subjected to and that's a shame for Spencer.
Berenice Bejo - The Artist
It is no small feat to be able to steal scenes from the uber charming Jean Dujardin and uber cute Uggie the Dog, but steal scenes Bejo did. She plays the role with pitch perfect simplicity. From the first time we see her getting her picture taken with Dujardin's character and parlaying that into working on silent films as an extra, she deftly conveys the shy, young, demure girl trying to break into Hollywood. As her roles increase and she becomes a major star with the advent of the talkies, we see her remain gracious and pure from the stain of Hollywood's brutality. She even shows concern for her former inspiration, George Valentin, as he fails to adapt to a movie business with sound drowning out the silent era he reigned over. Bejo does this all very convincingly, keeping up with her charismatic co-stars with equally expressive faces and movements that really show off her acting abilities. However, it becomes obvious through the movie that Bejo is merely a character for Dujardin to interact with as we experience his ups and downs. There's not a whole lot of depth to the character of Peppy (who lives up to her name) though Bejo does a marvelous job with what she is given. She's a sweet, caring, loveable woman who avoids any real conflict that could challenge her and push her performance from good to great.
Jessica Chastain - The Help
I feel this nomination is due more to Chastain bursting onto the scene with 7 different movies in 2011, 6 of which were critical and/or commercial successes, rather than on the merit of this role itself. Chastain's character, Celia, is a dopey, newly married, white trash southern woman who is in over her head as she tries to fit in with the other society women in town. She is an outsider who has married into wealth and the other women can't stand her uncouth behavior. So she takes on Spencer's character as a maid and treats her as a sort of equal and confidant. Chastain is essentially used as a character to show that not all of the white society women are evil racists and that they can somewhat coexist with "the help." Chastain does a convincing enough job in her role, one that is sincere in her innocent personality, which further shows how The Help treats its subject with kid gloves.
Melissa McCarthy - Bridesmaids
I'm still a bit unsure if this performance deserves its nomination here or if it just rode the popularity of the movie into one. That's not to say I dislike McCarthy in this movie. She is actually the flat out funniest thing about Bridesmaids, which says a lot about her comedic chops that she can come out on top in a movie featuring many other funny women. But how much of it is people overreacting to there finally being a raunchy, all-girl, gross out movie that rivals some of the many similar movies that feature mostly men? I could see a Jack Black or Zach Galifianakis filling the same type of role and getting no Oscar love though they might be equally as funny. It seems odd to me that this would get nominated as if a woman playing this type of comedic role is more worthy because it is so rarely done. Or maybe I'm reading too much into it because I'm definitely for more comedy roles and movies being included in these awards, male or female! McCarthy does steal almost every scene she is in, though I do feel she is given some of the best writing (although I'm sure some is improvised) and best situations with which to act in. I'd say that her character makes this movie worth watching on her own and helps elevate it to a level where awards talk isn't totally unwarranted.
Janet McTeer - Albert Nobbs
Janet McTeer is the only good thing about this movie, so I can understand why she was nominated here. When her character first appeared onscreen, it took me a good while to tell that she wasn't actually a man (obviously I had never seen McTeer before to be able to tell differently). The make-up and effects were obviously very good, but the mannerisms and voice of McTeer really helped to convince me she was a man for the first part of the film. What really impressed me was that in every scene she is in, even with Glenn Close, she acts circles around everyone else. She completely owns this otherwise dreadful movie and is its only saving grace. She gives a decent and believable performance that is sabotaged by a weak script and an awful role by Glenn Close that would make me look like an accomplished actor.
This group was really underwhelming and it feels like I say that about almost every Supporting Actress category so I don't want to come off as some sexist guy that hates women actors. I think the Supporting category lends itself to having some performances get nominated that aren't exactly worthy and we all know the Academy indulges itself in whatever suits their whims. So you might get lifetime achievements, make up nominees, or ones that make the Academy seem hip or not the stuffy club it really is. But with all that said, all I want is good performances that blow me away more than leave me wanting more, men or women. None of these 5 performances really wow me. In fact, they all are about the same in that you could mix em all up and randomly rank them and I'd probably be ok with all the different iterations. I like things about all of them just as I dislike different things about all of them. I don't think I can definitively give the win to any of these (though I think I like Bejo's performance the best so far) and I feel I may need to give these a little distance in time to better judge their impact on me.
Oscar Winner: Octavia Spencer - The Help
My Winner: Berenice Bejo - The Artist
Octavia Spencer
Jessica Chastain
Melissa McCarthy
Janet McTeer
Saturday, February 11, 2012
Best Picture 2008
The last of the 5 Best Picture nominee years ever and it is plainly obvious while watching all these films so far that this category definitely deserved and needed to be expanded. So many films that should have been nominated like Doubt, The Dark Knight and Wall-E were never given the chance to be a Best Picture nominee even though they deserved it. This also finally ends 2008 for me and I can't be any happier! I feel like I've spent years on these couple of categories and I am absolutely ready to move on to 2007. However, before I do that I am going to review the 2011 nominees while they are still fresh in my mind from their initial viewings so as to better capture the zeitgeist. Hopefully I can have at least one category done before the actual Oscar ceremony later this month. Fingers crossed, although I'm terrible at getting this done in a timely manner!
2008 Best Picture
Slumdog Millionaire
This film rightfully won Best Cinematography as it is simply gorgeous to look at. The story follows young Jamal as he answers questions on the Indian version of Who Wants To Be A Millionaire? with flashbacks explaining how he was able to answer the questions. It's a simple structure that has been used before but is used here to great effect.It's a wonder how Dev Patel wasn't able to secure a Best Actor nod because I would have easily put him ahead of Brad Pitt. I don't understand the backlash for this film after it won, besides Milk what other nominated film could have been deemed the best? When Jamal and Latika meet again after many years apart, it's a very emotional moment and you can't help but root for Jamal to get his girl. It's not done in a cheesy, forced, or overly cliche way. It's a simple, universal love story that can be understood by anyone. It's a solid movie and one that I can keep coming back to and watching without ever getting sick of it, it only grows in how much I like it and dare I say that it is an instant classic that will only multiply in stature.
The Curious Case of Benjamin Button
Right from the start, let's just get the fact that this is a very long and mostly dull movie out of the way. With that said, why does an obvious Oscar bait film with many distinguished actors fail to deliver on a simple premise? Probably because the premise was so simple to begin with and the idea of this film was left to be filled in with details later. Brad Pitt's character is born old and progresses through the early Twentieth Century while getting younger. This happens in a kind of vignette style with a young girl named Daisy who grows older in the normal way. The two connect almost immediately but their situations prevent them from interacting like they want and their lives weave in and out essentially saying that no matter what age you are, life will still have its problems. Benjamin Button doesn't say much more than that in its 3 hours and thus makes for a very tedious watch. The tone of the film is rather cold and ultimately uninteresting when the meaning rings hollow and could have been summed up in a much shorter time frame and a less self important way. The movie looks amazing and the technical aspects deserve a lot of praise, unfortunately these things outshine the story and characters.
Frost/Nixon
This film is at it's absolute best when Michael Sheen and Frank Langella's characters are facing off with each other, just talking for the interviews. You can see that the story came from the stage during these times and that they probably did really well, too. One can't look away during the rapport the two characters have established and continued to build from stage to big screen. Watching these two giants play off one another is a real treat for the viewer. I do feel the faux documentary parts cheapen an otherwise strong movie and takes away from the very real tension that builds throughout the interviews. There is some fine acting from the supporting cast but the two leads far and away make this movie work. If it had been just the two main characters, the whole premise still would have hit with the intensity that Frost/Nixon sometimes captures. The idea that the two are putting their reputations on the line in order to gain further acceptance by the public and others who doubt their sincerity makes for a film that can really hit home for the general public. Even on re-watch, this film remains as powerful as it is watching it for the first time, a remarkable accomplishment.
Milk
Milk is a movie that made me feel good as a person after watching it. And those movies are truly rare these days. However, the majority of this film really played out like a very well done sports movie. It had all the uplifting moments and the occasional overacting that plagues those types of films. The characters in Milk are definitely the shining moments. Penn and Brolin, and to a lesser degree, Hirsch and Franco, really set the tone of the film through their acting and really engage the viewer into investing their time to get to know the characters presented. What I personally liked about Milk was that the director made sure to let characters grow organically and let the audience make their own connections before he gently tugged on the heartstrings. Even though the pacing was a bit slow, the director let the audience feel what they wanted by the end of the film and didn't force any agenda which is key for socially and politically divisive films such as Milk.
The Reader
The first half of this film is mostly a film more into being a German sex film so to speak that it really hampers it from sticking out on it's own merits. We see way too much of Kate Winslet in the nude to take whatever it says about German guilt from then on into a real serious consideration. Once the first third of the film passes, we finally get what makes The Reader truly special as a film. We see the Michael character years later confronting his former mistress as she testifies on the Holocaust witness stand. He is devastated and this affects his personal relationships which is hinted throughout the film when Ralph Fiennes character (Michael when he is older) has an inability to connect with those around him including his daughter. So what should be an incredible treatise on German guilt because of WWII and how it influenced subsequent generations, turns into how one man was unable to cope with how his past indiscretions shaped his life. I can't say I'm a fan of how Stephen Daldry wants the audience to accept Hanna Schmitz's character as something more than a Nazi SS leader. It's a very middle-serious film that wants to be more important than it really is.
I am really glad that the Academy expanded the amount of nominees for Best Picture after this year. Both Benjamin Button and The Reader were lacking in real Best Picture qualities that I went over in my opening. So many other movies this year probably should have supplanted these two because they were so underwhelming. However, Milk and Slumdog Millionaire were definite highlights of this year and were rightfully rewarded. I contend that Slumdog is an instant classic that should be loved for all time. It's interesting to note that the buzz for Slumdog really started at the Toronto Film Festival and picked up steam when it started winning the Guild awards. It's interesting to me that a film that premiered at a festival that is so soon after the Academy Awards was able to take home the top prize nearly a year later. Anyway, 2008 was a year where I didn't exactly despise all the nominees but I know that there were more deserving films that could have taken their places.
Oscar Winner: Slumdog Millionaire
My Winner: Slumdog Millionaire
Milk
Frost/Nixon
The Curious Case of Benjamin Button
The Reader
2008 Best Picture
Slumdog Millionaire
This film rightfully won Best Cinematography as it is simply gorgeous to look at. The story follows young Jamal as he answers questions on the Indian version of Who Wants To Be A Millionaire? with flashbacks explaining how he was able to answer the questions. It's a simple structure that has been used before but is used here to great effect.It's a wonder how Dev Patel wasn't able to secure a Best Actor nod because I would have easily put him ahead of Brad Pitt. I don't understand the backlash for this film after it won, besides Milk what other nominated film could have been deemed the best? When Jamal and Latika meet again after many years apart, it's a very emotional moment and you can't help but root for Jamal to get his girl. It's not done in a cheesy, forced, or overly cliche way. It's a simple, universal love story that can be understood by anyone. It's a solid movie and one that I can keep coming back to and watching without ever getting sick of it, it only grows in how much I like it and dare I say that it is an instant classic that will only multiply in stature.
The Curious Case of Benjamin Button
Right from the start, let's just get the fact that this is a very long and mostly dull movie out of the way. With that said, why does an obvious Oscar bait film with many distinguished actors fail to deliver on a simple premise? Probably because the premise was so simple to begin with and the idea of this film was left to be filled in with details later. Brad Pitt's character is born old and progresses through the early Twentieth Century while getting younger. This happens in a kind of vignette style with a young girl named Daisy who grows older in the normal way. The two connect almost immediately but their situations prevent them from interacting like they want and their lives weave in and out essentially saying that no matter what age you are, life will still have its problems. Benjamin Button doesn't say much more than that in its 3 hours and thus makes for a very tedious watch. The tone of the film is rather cold and ultimately uninteresting when the meaning rings hollow and could have been summed up in a much shorter time frame and a less self important way. The movie looks amazing and the technical aspects deserve a lot of praise, unfortunately these things outshine the story and characters.
Frost/Nixon
This film is at it's absolute best when Michael Sheen and Frank Langella's characters are facing off with each other, just talking for the interviews. You can see that the story came from the stage during these times and that they probably did really well, too. One can't look away during the rapport the two characters have established and continued to build from stage to big screen. Watching these two giants play off one another is a real treat for the viewer. I do feel the faux documentary parts cheapen an otherwise strong movie and takes away from the very real tension that builds throughout the interviews. There is some fine acting from the supporting cast but the two leads far and away make this movie work. If it had been just the two main characters, the whole premise still would have hit with the intensity that Frost/Nixon sometimes captures. The idea that the two are putting their reputations on the line in order to gain further acceptance by the public and others who doubt their sincerity makes for a film that can really hit home for the general public. Even on re-watch, this film remains as powerful as it is watching it for the first time, a remarkable accomplishment.
Milk
Milk is a movie that made me feel good as a person after watching it. And those movies are truly rare these days. However, the majority of this film really played out like a very well done sports movie. It had all the uplifting moments and the occasional overacting that plagues those types of films. The characters in Milk are definitely the shining moments. Penn and Brolin, and to a lesser degree, Hirsch and Franco, really set the tone of the film through their acting and really engage the viewer into investing their time to get to know the characters presented. What I personally liked about Milk was that the director made sure to let characters grow organically and let the audience make their own connections before he gently tugged on the heartstrings. Even though the pacing was a bit slow, the director let the audience feel what they wanted by the end of the film and didn't force any agenda which is key for socially and politically divisive films such as Milk.
The Reader
The first half of this film is mostly a film more into being a German sex film so to speak that it really hampers it from sticking out on it's own merits. We see way too much of Kate Winslet in the nude to take whatever it says about German guilt from then on into a real serious consideration. Once the first third of the film passes, we finally get what makes The Reader truly special as a film. We see the Michael character years later confronting his former mistress as she testifies on the Holocaust witness stand. He is devastated and this affects his personal relationships which is hinted throughout the film when Ralph Fiennes character (Michael when he is older) has an inability to connect with those around him including his daughter. So what should be an incredible treatise on German guilt because of WWII and how it influenced subsequent generations, turns into how one man was unable to cope with how his past indiscretions shaped his life. I can't say I'm a fan of how Stephen Daldry wants the audience to accept Hanna Schmitz's character as something more than a Nazi SS leader. It's a very middle-serious film that wants to be more important than it really is.
I am really glad that the Academy expanded the amount of nominees for Best Picture after this year. Both Benjamin Button and The Reader were lacking in real Best Picture qualities that I went over in my opening. So many other movies this year probably should have supplanted these two because they were so underwhelming. However, Milk and Slumdog Millionaire were definite highlights of this year and were rightfully rewarded. I contend that Slumdog is an instant classic that should be loved for all time. It's interesting to note that the buzz for Slumdog really started at the Toronto Film Festival and picked up steam when it started winning the Guild awards. It's interesting to me that a film that premiered at a festival that is so soon after the Academy Awards was able to take home the top prize nearly a year later. Anyway, 2008 was a year where I didn't exactly despise all the nominees but I know that there were more deserving films that could have taken their places.
Oscar Winner: Slumdog Millionaire
My Winner: Slumdog Millionaire
Milk
Frost/Nixon
The Curious Case of Benjamin Button
The Reader
Friday, February 10, 2012
Leading Actor 2008
I recently listened to a very interesting podcast about film criticism, where a critic was talking about how many of today's "critics" pretend that they are the authority on film and film criticism and don't allow for any type of discourse. Effectively saying that these writers tend to think that their opinion's are the end-all-be-all word for that particular movie or performance and won't listen to differing opinions or, worse, will attack those that don't agree with them. All of this made me think about my own little project and I wanted to say that I in no way feel I am an authority on anything even remotely having to do with film. I feel that this is more of a journey for myself to discover the history of mostly the Oscars but also a little bit of film in general while going backwards in time. Now going backwards probably puts me at a disadvantage for really feeling the full effects of the Academy's choices since I don't see how things have truly evolved, but I do feel it will still broaden my knowledge and allow me to have a deeper appreciation for more than just the mainstream. And I really hope that if I ever finish this that I can begin a more detailed look at film in general and try my best to become a snobby film guy that only likes art house pics, foreign films, and movies of yesteryear!
As for the actors, again I've only not seen one of the performances so I pretty much know how my rankings will go. And by the time I am finished with 2008 I will have seen most of these films many, many times and I'll be glad to move on! I'm interested in how Richard Jenkins managed to sneak in and if it was a nod to his previous work or on the strength of an amazing performance. I guess I'll see soon.
2008 Best Actor
Sean Penn - Milk
Penn really gives his all, heart and soul, to this performance and makes it look easy. It helps that Penn looks eerily similar to Harvey Milk and seems to share his activist spirit. The best thing about Penn's portrayal of the somewhat selfish but well-meaning Milk is that he makes the character accessible to everyone, regardless of your political or moral leanings. If anyone has seen the great Oscar winning documentary The Times of Harvey Milk you would have seen the amazingly effervescent personality come to life and Penn really brings that palpable energy to the screen. Even though the audience is dropped right in the middle of Harvey's life, we don't feel as if we've missed anything and are fully engaged in Penn's characterization. Milk's death is chilling and we feel a sadness of having lost a friend we made in only 2 hours.
Richard Jenkins - The Visitor
Jenkins' character in this film is a professor who comes back to his apartment in NYC to find an illegal couple squatting in his place who he eventually befriends. His performance is quiet, understated, not flashy, and done in a matter of fact style. It's essentially a character study for Jenkins to flex his acting muscles without being overpowering. Sometimes you want Jenkins to break out of his shell and deliver something powerful and when it finally does happen it hits hard. Though through the entire film it's like you're waiting for the anger to finally boil over but it never really does, it just gives way to sadness. I guess that has to do with this film eschewing the usual Hollywood tropes and instead of getting a comfortable, happy ending we get something that leaves us wanting more but is probably the closest thing to reality. You can tell he feels his life is unfulfilling since his wife passed and he wears it on his face quite noticeably. It's a very restrained performance that doesn't feel out of place and helps this film avoid being a cliche.
Frank Langella - Frost/Nixon
The Academy definitely likes when actors imitate famous people. Langella actually performed this same role on stage before it was adapted for the big screen and he does at times bear a resemblance to Nixon. His accent is most effective and helps the viewer fully accept that they are watching Richard Nixon in action. Langella is engrossing and powerful as he draws you into the narrative. The performance really shines during his tete a tete with Michael Sheen as the two match wits and verbally spar to save their reputations. You can see just how vulnerable Nixon truly was and that's due to the believability of of the performance, especially in the expressiveness of Langella's eyes and face. It's obvious that both Langella and Sheen are extremely comfortable in these roles and it shows in how easily they embody their characters. It's a strong performance worthy of a nomination.
Brad Pitt - The Curious Case of Benjamin Button
How much of the make up and digital wizardry helped secure this nomination for Brad Pitt? I would say the novelty of the character had more to do it rather than Pitt's actual performance or the substance the character brought to the film. Pitt really didn't have all that much to work with as far as the story and script went so it is a testament to his acting abilities that he was able to garner a nomination. However, the character of Benjamin Button is very passive as he grows up and interacts with the world around, more like a passenger than anything. And this leads to an overall dull character that's hard to connect with. A lot of that is because Pitt's head/face is tacked on to another person's body when he's in his young and old states, so how much real acting is actually being done by Pitt? He does a decent job with what he has to work with but I can't help but think this is a classic case of style over substance.
Mickey Rourke - The Wrestler
Even though Nic Cage was initially slated for this role, I can't imagine anyone else taking on the role of Randy "The Ram" Robinson. No one. Rourke completely owns this character and imbues a lifetime of glories and failures into the soul of The Ram that the audience gets glimpses of from time to time throughout the film. It really feels like Rourke is exorcising some demons and using this performance as his own form of catharsis. The Ram's self destructive qualities clash with his need for emotional connections with anyone, including his estranged daughter and the stripper he "loves" but who only is fulfilling her job requirement in talking and listening to him. If The Wrestler had instead been a biopic on Rourke's demise in Hollywood and eventual resurrection, it might have looked eerily similar to this film. Rourke is powerful, magnetic, compelling, and warm all at the same time as he is emotionally distant, stubborn, scared, and vulnerable. This was definitely a role that was destined for greatness that only Rourke himself could have given it. Simply a masterful performance.
Another strong group for the Best Actor category. It seems this one has been the most consistent category since I've started doing this and that's really great to see. Especially when the other have some pretty terrible or weak roles nominated, this one delivers every year so far and I hope that continues. I'd say that Penn and Rourke are far and away the cream of this crop and I have had a hard time deciding which I would have wanted to win. I like both for different reasons and they are both incredibly strong actors. I think Rourke gets the nod because it's his once in a lifetime role that really defines him. But it's only a hair above Penn. As for Langella and Jenkins, they would be just a notch below the first two and I'm surprised (again!) at how good Jenkins was in his film. And then below them you have Pitt, which isn't a terrible performance just one where the technical aspects of putting his face on other people's bodies detracts from the overall work. You can still see he his talented just not as talented in this role as the others.
Oscar Winner: Sean Penn - Milk
My Winner: Mickey Rourke - The Wrestler
Sean Penn
Frank Langella
Richard Jenkins
Brad Pitt
As for the actors, again I've only not seen one of the performances so I pretty much know how my rankings will go. And by the time I am finished with 2008 I will have seen most of these films many, many times and I'll be glad to move on! I'm interested in how Richard Jenkins managed to sneak in and if it was a nod to his previous work or on the strength of an amazing performance. I guess I'll see soon.
2008 Best Actor
Sean Penn - Milk
Penn really gives his all, heart and soul, to this performance and makes it look easy. It helps that Penn looks eerily similar to Harvey Milk and seems to share his activist spirit. The best thing about Penn's portrayal of the somewhat selfish but well-meaning Milk is that he makes the character accessible to everyone, regardless of your political or moral leanings. If anyone has seen the great Oscar winning documentary The Times of Harvey Milk you would have seen the amazingly effervescent personality come to life and Penn really brings that palpable energy to the screen. Even though the audience is dropped right in the middle of Harvey's life, we don't feel as if we've missed anything and are fully engaged in Penn's characterization. Milk's death is chilling and we feel a sadness of having lost a friend we made in only 2 hours.
Richard Jenkins - The Visitor
Jenkins' character in this film is a professor who comes back to his apartment in NYC to find an illegal couple squatting in his place who he eventually befriends. His performance is quiet, understated, not flashy, and done in a matter of fact style. It's essentially a character study for Jenkins to flex his acting muscles without being overpowering. Sometimes you want Jenkins to break out of his shell and deliver something powerful and when it finally does happen it hits hard. Though through the entire film it's like you're waiting for the anger to finally boil over but it never really does, it just gives way to sadness. I guess that has to do with this film eschewing the usual Hollywood tropes and instead of getting a comfortable, happy ending we get something that leaves us wanting more but is probably the closest thing to reality. You can tell he feels his life is unfulfilling since his wife passed and he wears it on his face quite noticeably. It's a very restrained performance that doesn't feel out of place and helps this film avoid being a cliche.
Frank Langella - Frost/Nixon
The Academy definitely likes when actors imitate famous people. Langella actually performed this same role on stage before it was adapted for the big screen and he does at times bear a resemblance to Nixon. His accent is most effective and helps the viewer fully accept that they are watching Richard Nixon in action. Langella is engrossing and powerful as he draws you into the narrative. The performance really shines during his tete a tete with Michael Sheen as the two match wits and verbally spar to save their reputations. You can see just how vulnerable Nixon truly was and that's due to the believability of of the performance, especially in the expressiveness of Langella's eyes and face. It's obvious that both Langella and Sheen are extremely comfortable in these roles and it shows in how easily they embody their characters. It's a strong performance worthy of a nomination.
Brad Pitt - The Curious Case of Benjamin Button
How much of the make up and digital wizardry helped secure this nomination for Brad Pitt? I would say the novelty of the character had more to do it rather than Pitt's actual performance or the substance the character brought to the film. Pitt really didn't have all that much to work with as far as the story and script went so it is a testament to his acting abilities that he was able to garner a nomination. However, the character of Benjamin Button is very passive as he grows up and interacts with the world around, more like a passenger than anything. And this leads to an overall dull character that's hard to connect with. A lot of that is because Pitt's head/face is tacked on to another person's body when he's in his young and old states, so how much real acting is actually being done by Pitt? He does a decent job with what he has to work with but I can't help but think this is a classic case of style over substance.
Mickey Rourke - The Wrestler
Even though Nic Cage was initially slated for this role, I can't imagine anyone else taking on the role of Randy "The Ram" Robinson. No one. Rourke completely owns this character and imbues a lifetime of glories and failures into the soul of The Ram that the audience gets glimpses of from time to time throughout the film. It really feels like Rourke is exorcising some demons and using this performance as his own form of catharsis. The Ram's self destructive qualities clash with his need for emotional connections with anyone, including his estranged daughter and the stripper he "loves" but who only is fulfilling her job requirement in talking and listening to him. If The Wrestler had instead been a biopic on Rourke's demise in Hollywood and eventual resurrection, it might have looked eerily similar to this film. Rourke is powerful, magnetic, compelling, and warm all at the same time as he is emotionally distant, stubborn, scared, and vulnerable. This was definitely a role that was destined for greatness that only Rourke himself could have given it. Simply a masterful performance.
Another strong group for the Best Actor category. It seems this one has been the most consistent category since I've started doing this and that's really great to see. Especially when the other have some pretty terrible or weak roles nominated, this one delivers every year so far and I hope that continues. I'd say that Penn and Rourke are far and away the cream of this crop and I have had a hard time deciding which I would have wanted to win. I like both for different reasons and they are both incredibly strong actors. I think Rourke gets the nod because it's his once in a lifetime role that really defines him. But it's only a hair above Penn. As for Langella and Jenkins, they would be just a notch below the first two and I'm surprised (again!) at how good Jenkins was in his film. And then below them you have Pitt, which isn't a terrible performance just one where the technical aspects of putting his face on other people's bodies detracts from the overall work. You can still see he his talented just not as talented in this role as the others.
Oscar Winner: Sean Penn - Milk
My Winner: Mickey Rourke - The Wrestler
Sean Penn
Frank Langella
Richard Jenkins
Brad Pitt
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