Trailer for 'Last Night' released

Contrary to what my posting record lately may have you believe, I am in fact alive and still watching movies, just not new ones. I honestly have not sat in a movie theater in months. Blame it on location. I'm either nowhere near a quality theater or if I am, it's infested with bed bugs. ANYway, as you may have guessed from the subject, the trailer for the long-awaited film "Last Night" has at last been released. It's had a bit of a rocky upstart over the last few years due to Miramax going under, a shift that left many projects indefinitely shelved, including this one. Luckily it has found a distributor and is slated for a release early next year. I have read the script, and I am extremely excited for it. It's somewhat similar to "Closer" but with sympathetic characters.

Note: there are better quality versions on YouTube, but this was the only one that allowed embedding.




In other Keira Knightley news, they have also released a trailer for 'London Boulevard' which you can view here and a handful of new stills from 'A Dangerous Method' which you can view here

Emmy post-mortem (ish)

Pictured: the cast of 'Modern Family'



I suppose I should say up front that I did not watch the Emmys. Not because I didn't care about them but because I had other obligations in my real life to attend to (real life always ruins everything, doesn't it?) but of course I caught up on the winners and losers (or should I say LOST-ers!) but anyhow, here are my thoughts, because obviously my opinion is the most important.

I cry foul on the victory of Kyra Sedgwick for Best Drama Actress. She has been nominated 5 times and never won, and all of a sudden this year she wins? After literally just continuing to do the same thing? Here's what I think happened: the vote got so split up amongst the other actresses (probably most between Glenn Close and Julianna Marguiles) that somehow she ended up with majority. It happens. Case and point: Chicago winning Best Picture while being nominated alongside Gangs of New York, Two Towers, The Hours, and The Pianist.

I think a similar fate befell the Best Supporting Actor: Drama category. With both Michael Emerson and Terry O'Quinn in there, along with John Slattery, there's a lot of love for those guys so it was probably hard to determine one as the clear winner. So it ended up being Aaron Paul of Breaking Bad, who I'm sure is amazing, but strikes me as an odd choice considering this was their last chance to honor LOST.

Mad Men won for the third year in a row which was actually a bit surprising to me. While I don't really watch any of the other shows that were nominated (aside from Lost, which I'm glad didn't win since other than the finale and Ab Aeterno season 6 was a complete mess), season 3 of MM just didn't cut it for me as much as seasons 1 and 2. I found the pacing inconsistent and lacking focus. That said, the last three episodes of that season are absolutely amazing. Some of the best of the series.

I'm glad Jon Hamm didn't win Best Actor. Frankly, this season I'm realizing the limits to his performance. I don't know if he's always been like this and I've just ignored it or if suddenly this season he's just more tense, but his physicality is just very awkward and stiff for some reason. Everything feels more strained and not in a good way. I'm fearing he may have peaked at the crying scene in season 3.

And finally, MODERN FAMILY. Yes. A thousand times yes. So happy Glee didn't get it, they need to find their footing more solidly before they can start winning these awards, and I really hope they do. But this year was all about Modern Family. That show is beyond glorious. But in all honesty, here's hoping next year Parks and Recreation will be given a well-deserved nomination.

Where's Maury Povitch when you need him?

Pictured: Thomas Robinson and Jason Bateman


Let’s face it, nobody really was expecting this movie to reinvent the wheel. Now I know what you’re going to say: “Kate, didn’t you just make a post in which you claimed that ‘The Switch’ would be the first of a new wave of intelligently-written romantic comedies?” Yes, my possibly lone reader, I did indeed. And while I don’t necessarily take back what I said in that post, I do acknowledge that I was putting a few too many eggs in one basket (pun completely intended).

“The Switch” based on the short story "The Baster" by Jeffrey Eugenedes, is charming, incredibly sweet, and has more than a few genuine laughs (most of which brought to us by Juliette Lewis). The problem is that it takes itself a bit too seriously. With a plot device as "you can't make this stuff up" as they come, the comedy needs to come from the mere fact of the situation. If you're going to have characters say the words "sperm" and "semen" in the first third, not to mention sperm confetti in the invitations to an insemination party, you need to commit to that level of bluntness (which offers plenty of opportunities for laughs). By the second half everyone is using euphemisms like "ingredient" as if they were sitting in a 6th grade health class.

While the sentimentality does get a little thick in several scenes, the performances manage to keep it away from the bottomless pit of kitchiness to which most films of its ilk are doomed. Jason Bateman in particular makes leading man Wally relatable but not completely helpless, as is often the case with underdog heroes such as these. Bateman is one of the few actors who can take the concept of playing a "nerdy type" and not run away with it into horrible caricature. Jennifer Aniston is on auto-pilot, having been playing some variation of Rachel Greene since the late 90s. But I'm not complaining. While she will probably never rise beyond films like these (and it's certainly not the worst place to be) she has an undeniable likability that may even help me forget the fact that she was in "Bounty Hunters."

"The Switch" is light, feel-good, and displays at least some respect for its audience, which is more than most rom-coms today can boast. So many late August movies get lost in the transition between mindless summer fodder and the early fall Oscar season, and while such a fate is likely to befall this film, I admire its efforts and encourage everyone to at least look out for it on DVD.

Movie News!: "Black Swan" trailer, "Girl with the Dragon Tattoo" casting, and more!

The trailer for Darren Aronofsky's latest film, "Black Swan," has debuted on Apple Trailers. The story is of Nina (Natalie Portman), a young New York City ballet dancer, whose status is threatened by the arrival of Lily (Mila Kunis). As the two compete with each other for the spotlight in Swan Lake and their director's affections, Nina taps into an inner darkness that she cannot contain as it strives to overcome her.

View the trailer here!



In other news, actress Rooney Mara has officially been selected for the highly coveted role of Lisbeth Salander in the American adaptation of the popular Stieg Larsson novel "The Girl With the Dragon Tattoo" and its sequels "The Girl Who Played With Fire" and "The Girl Who Kicked the Hornet's Nest." Speculation has gone on for months over which Hollywood ingenue would nab the role. Many were predicting Kristen Stewart or Carey Mulligan, but ever since the director announced he wanted a relatively unknown actress, all bets have been off. Mara has most recently been seen in the remake of "Nightmare on Elm Street" and will soon be starring in "The Social Network" along with fellow up-and-comer Andrew Garfield.



Ian McEwan's 2007 bestseller "On Chesil Beach" is headed for the big screen in what I can only call a collaboration the likes of which I could usually only fantasize about. McEwan has written the screenplay himself (which is good because I don't know how this novel can be adapted without an NC-17 rating, anyone who's read it knows what I'm talkin' bout). He has long said in interviews that his dream team for the film version is Sam Mendes at the helm with Carey Mulligan as its lead. And Ian McEwan is a man who gets what he wants, this case being no exception.

The novel is about a young married couple on their wedding night facing their fears and insecurities as they move ever closer to what will be their first sexual encounter. Carey Mulligan will portray the young bride, Florence, and is in fact learning how to play the violin in preparation for the role (which is that of a gifted concert violinist). Her husband, Edward, has yet to be cast. Filming will most likely begin in late fall.

I suppose that's all for now. I really just wanted an excuse to post that "Black Swan" trailer. (Does that not look crazy?)

2010: The return of the intelligent rom-com?

Pictured: Jennifer Aniston and Jason Bateman in "The Switch"


As of late, the romantic comedy has perhaps become the laziest of all genres. Gone are the days of the genuinely decent rom-coms of the 90s, the decade in which the genre arguably saw its greatest golden age thanks almost entirely to Meg Ryan. But now what do we have? Dozens upon dozens of the same thing: successful woman in her late 20s/early 30s, doesn't really know what she wants in life and is defensive about it therefore she remains single, may or may not be baby crazy. Oh and her best friend is Judy Greer.

Enter effortlessly successful man, terribly charming in a vaguely toolish way. He immediately can see right through any front of iciness our heroine has and begins calling her out on all her insecurities as soon as the first date. They will bicker and banter but ultimately realize their affection, and just when they finally approach the point where they're ready to admit their feelings, someone does something to mess it up but for some reason it's always her that ends up asking for the second chance. They end up happily ever after. If you notice, (with a few exceptions) I have just described the plot of 27 Dresses, Notting Hill, 13 Going on 30, How to Lose a Guy in 10 Days, Sweet Home Alabama, etc...

But somehow, 2010 seems to be ushering in some very promising new forays into this factory-produced genre. The first (I hope) will be 'The Switch' starring Jennifer Aniston and Jason Bateman. All things considered, it does have a fairly original device when it comes to bringing the two main characters together. Plus those two could have some seriously sweet chemistry. I'm hoping for the best.

But in case that doesn't work out, here are the trailers for three upcoming romantic movies (they're really dramadies, but frankly I think those make for the best ones) that actually look pretty good. They include: 'Love and Other Drugs' starring Jake Gyllenhaal and Anne Hathaway (which looks the most cliche of all of them but in a Jerry Maguire kind of way), 'The Romantics' starring a whole bunch of people (more of a drama, but it actually looks quite good and may prove that Malin Akerman can act) and 'How Do You Know' which stars Reese Witherspoon and Paul Rudd so...rom-com gold.

Follow the jump to see them!

The Kids Are All Right (and we will be, too)

Pictured (left to right): Annette Bening, Julianne Moore, Josh Hutcherson, Mia Wasikowska, Mark Ruffalo

Frankly, I support any film that involves an impromptu Joni Mitchell sing-a-long between Annette Bening and Mark Ruffalo. If that had been the only scene I watched from this summer gem, my opinion would probably be the same as it is now. But this is not to say that was the only moment of enjoyment. “The Kids Are All Right” is a fresh, smart, and ultimately brave comedy that delights and enlightens its audiences from start to finish.

The key is that it makes its statement without actually making it. Like “The Hurt Locker” commented on the Middle East by allowing the soldiers to speak for themselves, “Kids” presents the fact that Annette Bening and Julianne Moore are a married lesbian couple as established fact, no need for further discussion. This is Mom and Mom, these are their kids, this is their life. Believe it or not, it’s a lot like yours.

Nic (Bening) is mama bear, ready to defend her cubs and mate from any intruders. Jules (Moore) is the free-spirit, the “I’m your friend” parent, though not as embarrassing as say, Phil Dunphy of “Modern Family.” Their children Joni and Laser (Mia Wasikowska and Josh Hutcherson) are anywhere’s teenagers, profoundly confused and defensive when asked about it. Together they are (for all intents and purposes) a traditional American family.

Things change of course when Joni and Laser, out of pure curiosity, decide to contact their mothers’ sperm donor, Paul (Mark Ruffalo). Paul is the definition of a “cool dude” but Laser has it right when he initially characterizes him as “a little into himself.” He is their sperm donor, not their father. Through the bizarre yet very realistic triangle that emerges between the three adults, the audience begins to realize that the kids may in fact be the only ones who are all right (but still not great).

Early in the film Jules attempts to explain to Laser that “human sexuality can be very complicated” and none prove this more than her. The sexual relationship that emerges between Jules and Paul is curious but honest. As she and Nic drift father apart, she seeks Paul’s companionship as a refuge of appreciation and unbiased support. Not to mention, he is a part of her children, creating between them a connection that I think goes beyond any dictates of sexual preference.

The performances are spot on all around. Bening and Moore are tender and believable, we root for them through and through. Mark Ruffalo is the best he’s been in years thanks to a director who understands what to do with his sleepy mumble. As for the kids, Wasikowska is at her "In Treatment" best and Hutcherson can easily call this his breakthrough.

I very gladly add "The Kids Are All Right" to my list of 2010’s best (which right now has I Am Love in its #1 spot). It is emotional yet understated, clever but not full of itself. In terms of its politics, as said before, it does not preach in the slightest. It simply shows how today’s everchanging image of the “nuclear family” is still, at its core, facing the same challenges it has since the idea of the American Dream began.

"What we want vs. What's expected of us." Mad Men 4.02

"The world is so dark right now." Mad Men 4.01

Last night was the season premiere of AMC's Emmy-dominating series Mad Men. Anyone who has ever met me knows that I will never not take the opportunity to talk about this show. So here is my recap/review of episode 4.01, "Public Relations," easily one of the strongest the series has seen since its pilot season.

Side-Effects include "Sleep Crime"

(Pictured: Joseph Gordon-Levitt and Leonardo DiCaprio)

(As a disclaimer, the title comes from a 30 Rock episode. Liz Lemon is taking sleeping pills before getting on a plane and reads the side-effects aloud to Jack. I literally could not stop thinking about that scene throughout this movie.)

It’s never a good sign when 15 minutes into a film, one genuinely questions whether or not one has missed at least an hour and a half of plot. I’m all for stories starting off confusing and then becoming clearer as they unfold, in fact I love those kinds of movies. But this one started out confusing, remained confusing, and ended with one of the most groan-worthy “Aha!” finales in recent cinema.

That said, I did enjoy myself while watching it and I will be the last person to say it wasn’t entertaining or visually boggling, but never once did I find myself regarding it as anything other than your typical pseudo-intellectual summer blockbuster (of which Christopher Nolan is the reigning king).


Please follow the jump for the rest

Javier Bardem and Penelope Cruz say 'I Do'

Normally I'm pretty good about making sure I don't post gossip or things of that nature on this blog, but this is a special occasion. Two of my favorite actors not to mention one of my favorite Hollywood couples have tied the knot. A sexy, sexy Spanish knot.

Oscar winners Javier Bardem and Penelope Cruz, who first met on the set of Bigas Luna's 1992 film 'Jamon, Jamon' (Cruz's first film at the age of 17, Bardem was 22) have married in a characteristically private ceremony at a friend's Bahamas home. People speculated for several months that the two were secretly engaged, but neither ever confirmed or denied. However, there was Bardem's rather unexpected declaration of love to Cruz at the Cannes film festival (see my report of it a few posts down). Perhaps this was his means of saying to the world, "Yep. It's happening, people."

The pair have dated since 2007 when they reunited onscreen in Woody Allen's "Vicky Cristina Barcelona." In the film, they portray a tempestuous divorced couple whose desire for one another is only matched by their urge to kill each other. In this case, here's hoping life does not imitate art.

Trailer for Woody Allen's "You Will Meet a Tall Dark Stranger"

Well...it's definitely a Woody Allen movie. Stylistically it seems very similar to Vicky Cristina Barcelona. I'm always conflicted by his writing because on the one hand I love love love the way he crafts dialogue, but on the other hand, he writes some of the most obnoxious and downright detestable characters in cinema. I think I am one of the few people who absolutely cannot stand either Alvy Singer OR Annie Hall, and I have never loathed a film character quite as much as Jonathan Rhys Meyers in Match Point. That said, Vicky Cristina Barcelona is one of my favorite films of the last five years and with a cast as good as the one in Stranger, I am definitely looking forward to it.

2010 Emmy Nominations

This is what I love about the Awards world. Instead of putting all the major ceremonies over one 3-month period a year, they space them out so we get movies in the late winter, theatre in the summer, and television in the fall. The Tonys have come and gone (I didn’t cover them simply because I’m rather uninformed) but today we were given the nominations for the 2010 Primetime Emmys. And let me say, they did not disappoint. They did not disappoint at all. So let’s dive right in here.

"I am as powerful as you." Coco Chanel & Igor Stravinsky.

Pictured: Anna Mouglalis and Mads Mikkelsen

Paris 1913. Coco Chanel is dressing for the theatre in the company of her lover, Boy Capel. Igor Stravinsky sits nervously backstage at the Theatre du Champs-Elysees with his supportive wife Catherine, bracing for the infamous opening performance of ‘The Rite of Spring.’ As the story goes, it is met with a riotous and outraged audience. Everyone is on their feet shouting obscenities at the stage or each other - everyone, it seems, except Mademoiselle Chanel, who sits quietly absorbing the experience on an entirely internal level, expressing hardly the slightest emotion. Stravinsky, too, reveals nothing externally, but inwardly contemplates the failure before him.

Despite Coco’s presence on this night, the two do not formally meet until 1920, a location in time the film jumps to after a somewhat awkwardly placed montage of footage from the Russian Revolution and WWI. In their personal lives, Coco has lost Boy to a fatal car accident but witnessed the continued growth of her empire, and Igor's life has been uprooted by the war and its lingering effects, one of which is a somewhat nomadic lifestyle for him and his family. After a few encounters during which a reciprocal fascination is profoundly felt, Coco invites Igor and his family to live at her villa (one of the few verifiable facts of the film).

(This is a somewhat longer review - please follow the jump for the rest.)

On the Radar: Andrew Garfield

With the recent casting announcement of Andrew Garfield as the next Peter Parker in the upcoming Spider-Man reboot, most people’s reactions seem to boil down to this: “Oh yeah that guy Andrew Garfield!...wait…who the hell is Andrew Garfield?” Obviously this reaction is completely legitimate, as he is all but a complete unknown. But I am here to excitedly report that 2010 has the potential to bring the name Andrew Garfield into every film lover’s home, and not just because he will soon be swinging his webs across screens worldwide come 2012.

Where you already know him from:

Garfield did not just appear out of thin air, but his is the unique kind of early career that has been lauded by critics but gone nowhere near the radar of the masses (other examples of this include Emily Blunt or Sam Worthington). His name first started being tossed around in 2007, when he starred in the film ‘Boy A’ for which he won a BAFTA. Later that year, he appeared in the Robert Redford film ‘Lions for Lambs,’ his first Hollywood film.

Then, in 2009, his career reached a new plane with the film series ‘Red Riding’, a sequence of crime dramas in which Garfield played a detective investigating one crime over the course of 9 years, separated into 3 films taking place in 1974, 1980, and 1983. Next came the beginnings of a break in Terry Gilliam’s 'The Imaginarium of Doctor Parnassus'. As of right now, this seems to be where most people recognize his name from.

Potential Breakthrough:

2010 is going to be a big year for Garfield. Not only has his name just been announced for Spider-Man, but he is soon to be seen starring alongside Oscar darlings Carey Mulligan and Keira Knightley in the film ‘Never Let Me Go.’ The film is already sitting under the early Oscar spotlight, and could hold some promise for all actors involved, Garfield included. If all goes well, this could be his breakthrough role, meaning that by the time Spider-Man actually does come out, he won’t be such an ‘unknown’ anymore. Who knows, perhaps he’ll have the coveted “Academy Award Nominee” prefix to his name.

At any rate, fans concerned about this ‘reboot’ have nothing to worry about. They wouldn’t have cast an no-name unless it was a name worth knowing.

International trailer released for "Let Me In"

I suppose seeing this trailer has made me realize how kind of pointless this movie is. It looks like it's literally, LITERALLY, nothing more than an English-language version of what will inevitably be the far superior original. I don't like how they're making this look like a straight up horror flick with the cool Muse-esque music and quick cuts. It's supposed to be a disturbing yet oddly heartwarming tale of young love. I don't know, maybe I'm being too pessimistic too early on. And looking at the trailer for the original, it's actually quite similar, although it does indeed play the romance up more than the American trailer.

On the plus side, Kody Smit-McPhee looks perfect for the part and while I still think Chloe Moretz is too girly to play that role, she's a talented young actress and I'm sure will make the most of it. In the book, her character is actually not a girl at all but a castrated male. In the original, they compensated for this by casting a young woman but having her voice dubbed over by a boy (though it's completely unnoticeable, I was shocked when I found that out). I think for the purposes of this remake, they've done away with that whole concept and are just making her a female, which I'm okay with because it probably (and hopefully) means they'll eliminate the really awkwardly abrupt full-frontal shot from the original which revealed what exactly she...had going on down there.

Anyway, I'm rambling now. I hope this trailer is just to get audiences interested and that the movie is a bit more subtle than this makes it seem. The worst case scenario is that it will take probably the most unique piece of work to come out of the recent vampire craze and water it down to appease the Twi-hards. Thankfully, no matter what this ends up being, it doesn't look like it's going to be that, so I guess I'll count my blessings.

Here's the trailer of the original for comparison:

Something stronger than blood. Mother and Child.

Pictured (from Top Left): Samuel L. Jackson, Naomi Watts, Shareeka Epps, (Bottom right) Kerry Washington, David Ramsey


Three women. Three daughters. Three mothers. Three lives affected by the complicated process of adoption. Rodrigo Garcia’s “Mother and Child” tells the story of Karen (Annette Bening), a woman in her 50s still burdened by the memory of a daughter she gave up at the age of 14, Elizabeth (Naomi Watts), the now 37-year-old daughter of Karen, struggling to define herself without any knowledge of her heritage, and Lucy (Kerry Washington) an infertile young wife desperate to adopt but unsure if she really wants a child or simply to appease her husband. The women’s lives are obviously connected, but not in the borderline-gimmicky way such a structure is typically treated.

Despite the film’s all-star lead cast, “Mother and Child” is, at its heart, a celebration of the writing and directing of Rodrigo Garcia. Anyone who has seen his work on “In Treatment,” knows that this is a man with a unique ability to make audiences feel not a part of the action, but rather invaders of it. Such a technique is valuable on that series given the intimate subject matter: patients divulging to their therapist. You feel as if you’re watching something you’re not meant to be watching, an intruder. This sensation is gratefully not felt throughout the entirety of “Mother and Child,” but when present, it is extremely effective. For example, an unplanned tryst between two lovers in a hotel room is shot with its subjects so deliberately out of frame, one feels as if it were being viewed through a security camera.

The writing retains a sense of sincere composition while still reading naturally. Garcia builds tension to the point of snapping, only to ease it with a comment both jarringly relieving and deftly human. This is not to say the film is without its flaws, there is a certain dose of character inconsistency that is never too extreme to remove you from the story, but does leave more questions than wanted. For example, we are never made exactly aware of what happened between Annette Bening and her mother in the years following the unplanned pregnancy and subsequent adoption process, an understanding that would have significantly helped in informing Bening’s character throughout the first third of the film. Other elements come across as forced, such as the friendship that emerges between Watts and her blind teenage neighbor, Violet, who dispenses tokens of wisdom like the cliché device she so clearly is.

Performance-wise, no one goes above and beyond, but that is not to say it is weak. Each actress does her character the justice she deserves and offers a deep, cerebral examination of her brand of mother, particularly Watts and Bening. Kerry Washington is engaging and seems to understand the psychology of Lucy on a fundamental level, but I kept getting the sense throughout that she was in somewhat over her head, and not in the way she should have been. The supporting players often steal the show here, none more so than S. Epatha Merkerson as Washington’s mother. Throughout the film we see women who are “mothers” but Merkerson’s Ada is the only one I would consider a “mom.” If anything, this film highlights the importance of such a distinction.

Here is a touching film in the sincerest sense of the word. With a subject and structure that could easily delve into hackneyed clichés, it quite successfully maneuvers around these pitfalls, despite a few trips here and there. If it is playing near you, I would say give it a watch. In the midst of summer movie 3D action mania, “Mother and Child” is a breath of fresh air.



SIDENOTE: In the theater I saw this in, they accidentally showed the 'Coco and Igor' trailer twice. I think this is a sign that I need to find this movie no matter what it takes. Also the Tilda Swinton Italian film 'I Am Love.' I highly recommend looking those trailers up, both look incredible.

First trailer released for 'Never Let Me Go'

This is the kind of trailer that makes my mouth water. It has pretty much everything I love in a movie: dramatic romance, an incredible cast, and what appears to be an extremely emotionally and intellectually complex plot. Not to mention lots and lots of British people. Personal preferences aside, I think it's safe to consider this trailer an early glimpse at what is sure to be a very serious Oscar contender. I mean, look at that cast. Knightley, Mulligan, Hawkins, Rampling, even Andrew Garfield, who got some very good reviews for his work in the experimental film series 'Red Riding.' The novel is supposed to be wonderful and I can't wait to read it in anticipation for this film. Definitely something I will be keeping track of.

Movie News: Cannes wrap-up and more!

Pictured: Javier Bardem and Juliette Binoche, winners for "Biutiful" and "Certified Copy," respectively.

A few weeks ago, May 23d to be exact, while I was weeping over the Lost finale, the Cannes film festival concluded with its 63d annual presentation of the Palme d’Or. This year the top prize went to the Thai film “Uncle Boonmee Who Can Recall His Past Lives” by Apichatpong Weerasethakul (and no, I did not just press random letters on my keyboard, that is his full name). The film appears to have polarized its audiences, not an unusual occurrence at Cannes, after all this is where Antichrist made its public debut, for which Charlotte Gainsbourg took home the Palme d’Or for acting in 2009.

This year Best Actress went to the ever lovely Juliette Binoche for the film “Certified Copy” by Iranian filmmaker Abbas Kiarostami. Best Actor was a tie between Javier Bardem in Alejandro Gonzalez Inarritu’s “Biutiful” and Elio Germano in “Our Life,” an Italian film by Daniele Luchetti. Bardem made a bit of a PR splash in his speech, when he openly dedicated the award to longtime girlfriend Penelope Cruz, who has notoriously refused to discuss their relationship in public. But Bardem, usually on board with this policy, dashed pretense aside as he opened his speech by saying, “I share this with my friend, my mate, my love, Penelope.” Cruz, taken totally off guard, immediately burst into tears and began blowing kisses in his direction.




In other news, the first handful of stills from the upcoming American adaptation of “Let The Right One In” (retitled “Let Me In”) have been released, and quite frankly, I am pleased. Granted, anyone looking at that photograph who has seen the original Swedish film will realize that is almost an exact replica of a shot in that film, but at least we know they’re staying faithful to the barren atmosphere that made the story so effective rather than making a slightly creepier Twilight movie. Two more photos can be found at the following link: http://bigfanboy.com/wp/?p=3050

It has now been reported that Keira Knightley and Matt Damon have tentatively been cast in an adaptation of the F. Scott Fitzgerald novel “Tender is the Night.” As is true with virtually all Fitzgerald novels, the story heavily reflects the relationship between Scott and his own wife Zelda. Therefore I think it’s safe to conclude that Knightley’s attachment to this film means that “The Beautiful and the Damned” is officially getting scrapped. I am not pleased.

Gwyneth Paltrow has officially dropped out of the upcoming film "The Danish Girl" about painter Eimar Wegener, the first recognized transgendered individual. I'm very intrigued by this film, largely because of the interesting casting choices. Nicole Kidman has been cast as Eimar both as a man and a woman. But it seems the role of Greta, Eimar's wife, is somewhat cursed. First it was Charlize Theron, then Paltrow stepped in, and now it's being reported that Uma Thurman is taking over. Most are crediting this sudden withdrawal from Paltrow to her strained marriage to Coldplay frontman Chris Martin. There have been some reports of animosity between the two lead actresses, but they seemed little more than tabloid fluff. But what is particularly confounding is that Paltrow dropped out in the middle of production, meaning reshoots are in order with a new actress, who has yet to be confirmed as Thurman. I don't think it will get shelved, but it is being delayed significantly. Regardless, this seems like a missed opportunity for Paltrow as the film simply wreaks of Oscar potential. Especially for Kidman.

Other than that I am developing a list of films I really want to see this summer, especially ‘The Killer Inside Me’ and ‘Coco Chanel & Igor Stravinsky.’ I'm hoping to see 'Ondine' next weekend, so hopefully a substantial review of something is coming. In the meantime, here is a less-than-one-sentence review of Robin Hood: Watch Braveheart. Or Gladiator. Or King Arthur. Or...eh you get the point.

Also, new layout! huzzar!

Movie News!

So let’s dive right in here with a story I literally just read but am very jazzed about. Several months ago, the History Channel announced that they would be airing their first scripted drama in 2011 in the form of an 8-part miniseries about the life of JFK called “The Kennedys”. Some people (myself included) have expressed some concern over the fact that it is being written and produced by the people who made 24 as they are openly conservative. However, I have faith that the History Channel is aware of how much hype this thing is already getting and they’ll make sure it’s as legit as it can be. And with the new announcement of casting, it sounds like they will be successful. John F. Kennedy will be played by Greg Kinnear with Katie Holmes as Jackie. They have also cast Barry Pepper as Robert F. Kennedy and ultimate mini-series actor Tom Wilkinson as Joseph Kennedy. Personally, I am stoked. Kinnear is one of my favorite actors and I never actually realized how much he looks like JFK until just now. And finally, FINALLY Katie Holmes has found her chance to actually prove herself as an actress and not just the brain-washed kept woman of a psychopath.

= ? Really?

Other casting news, Penelope Cruz has dropped out of Lars Von Trier’s upcoming film “Melancholia” to be replaced by…Kirsten Dunst? This is where the info gets fuzzy because Charlotte Gainsbourg is also cast and I have a much easier time believing that she could take over a Penelope Cruz role than Kirsten Dunst, who I’m pretty sure is the complete visual opposite of Penelope Cruz. Not surprisingly, Cruz has opted to do the fourth Pirates of the Caribbean film over Von Trier’s film. On the one hand, I’m sad because I’m sure she would be phenomenal in it and I’m always looking to see her in meaty roles, but on the other, a gal’s gotta make money. And she is literally the only reason I will see the Pirates movie so I think it’s for the best.

>

Now for some DEVASTATING casting news. As you recall, in my last Movie News post, I expressed utter glee and delight at the news that Christoph Waltz would be playing Sigmund Freud in the upcoming film “The Talking Cure.” Well….now he isn’t. It’s Viggo Mortensen. I love Viggo, I really do, but if there was ANYONE who was truly meant to play Freud it is Christoph Waltz. On top of this, they’ve changed the name of the film to “A Dangerous Method” which, at the risk of sounding stupid, sounds really stupid.



In lighter events, Carey Mulligan has now officially been cast in Emma Thompson’s remake of My Fair Lady AND an English version of The Girl With the Dragon Tattoo. Not sure what’s happening with the film of The Seagull, but if I find out it’s been scrapped I will probably injure someone. This Christoph Waltz business is bad enough.

Their Lives in Art: Summer Hours.

Pictured (from left to right): Jeremie Renier, Juliette Binoche, Charles Berling


It is a shared belief among many a writer that a person’s true nature is best seen through his or her coping mechanisms. Indeed, the death of a loved one is probably the most direct route by which one can discover what is truly important both emotionally and materially speaking. Such is the thematic backbone of Olivier Assayass’ hypnotically restrained Summer Hours.

The plot follows the siblings Marly: Frederic (Charles Berling), the eldest, Adrienne (Juliette Binoche), and Jeremie (Jeremie Renier), the youngest, as they cope with the death of their mother Helene while attempting to decide what to do with her extensive and valuable art collection. Frederic is a romantic, believing that it is in everyone’s best interest to preserve their mother’s idyllic country home for future generations to enjoy and act as a kind of home base for the family. Adrienne and Jeremie, however, find their lives taking them abroad, Adrienne to New York to be with her American fiancé, and Jeremie to China as a move up the corporate ladder with no use for the house but a need for the financial stability selling it would create. Yet Frederic remains loyal, unable to part with the objects and locations that defined him as a child and that he desperately wishes would define him as an adult.

Despite the film’s ebb and flow that does indeed evoke a feeling similar to that of a cool summer’s day, there is an underlying magnitude assigned to these objects and to the mother’s life in general that gives the film its richness. In several moments throughout the film it is alluded that Helene had a relationship with her uncle, the artist whose work adorns the house, that went beyond affectionate relatives. Adrienne and Jeremie have already made their peace with this notion, but Frederic cannot nor does he want to wrap his head around such an idea. When their lawyer describes to him that Helene was the artist’s “last great passion,” Frederic assumes the least offensive definition for that term. However we can understand his decision to do so, as he so dearly holds this place to his heart. To learn that it contains secrets even he cannot unravel would naturally come as a hindrance to his need for preservation.

It is this idea, this need for preservation, that makes the ending so perplexing to me. Without going into too much detail, I found it quite troubling to see this beautifully intricate study of three adults finally coming of age boil down to a message of little more than “kids these days.” The last image pulls it enough out of this rut to be satisfying, but I confess it did leave me with an unpleasant taste in my mouth. That aside, the rest of the film is fascinating enough that it is more than worth the watch.


NOTE: Of course, with any quality foreign film, an American remake is bound to happen. Tom Hanks snapped up the option for this almost immediately after it came out. The main issue I have with this is that there is something about this film that is unique to France. I’m sorry but I don’t know of anywhere in the United States that can truly mimic the feeling of a lush garden home in Provence. This is also annoying because let's face it, there is a 99% certainty that Hanks is going to cast himself as Frederic (or whatever 'American' name they give him).

2010: The Year of Knightley?

It’s hard to believe we’re already 3 months into 2010, which means, according to mine and Rope of Silicon’s standards, it is not too early to start predicting next year’s Oscar race. While sizing up the potential contenders, I came across an interesting trend: several of them count the lovely Keira Knightley among their cast.

I know, I know, she is not the most widely beloved actress, but personally I am a fan (I’m a sucker for a good period piece). I will say, however, that her work as of late has been upsettingly one-note. How many times are we going to have to see her play women of the 18th or 19th Century who are tragically bogged down by the archaic rules and restrictions of British society before we can all agree that she does it like no one else? (I’m sorry Emily Blunt, I love you, but I almost fell asleep during The Young Victoria.)

Well luckily it seems that such a time is upon us. I am happy to say that her two most near-at-hand films BOTH take place in the 21st Century. To learn more about them and her other upcoming projects slated for a 2010 release, please follow the jump cut.

New Feature: Movie News

First of all, I need to start coming up with cleverer names for these features. I am open to suggestions, preferably involving some sort of horrible pun.

At any rate, I figured it would be a good idea to, instead of just posting reviews, to post news items regarding film since that's pretty much all I look at for 90% of my day. So let's get to it.

- In what is perhaps my most exciting discovery, Freida Pinto of Slumdog Millionaire fame has signed on for Tarsem's upcoming big-budget epic War of the Gods, starring Henry Cavill as a young Theseus. According to Tarsem, the look of it is "Italian Renaissance painting style meets Fight Club" so...awesome. Not only is this big news because a. it means another great part for Pinto but also b. it means something is finally happening with this movie, the progress of which I've been monitoring for about a year. Part of the drag with Tarsem is that it takes him VERY long to make a movie due to his rejection of CGI. Not sure if that will hold up with this film, but I know that The Fall is pretty much entirely shot on location and took 4 years to make.

- Not sure how 'recent' this news is, but I only just found out about it so I'm going to report on it. Evidently, Gwyneth Paltrow is signed on to star in an upcoming Marlene Dietrich biopic, a role for which she was specifically chosen by the Dietrich family. However, Hollywood studios are hesitant to greenlight it because of Paltrow's attachment. Not sure if it's because they don't like Gwyneth, or they, like me, do not see any remote resemblance between her and Dietrich. I like her as an actress, so I'll be interested to see if she pulls it off, but if you ask me, it should be Diane Kruger.

- In other 40s German film star biopic news, it looks like Jodie Foster's long-awaited Leni Riefenstahl film might just have gotten the go-ahead. It's listed on imdb as in development for a 2011 release, but as it's on imdbPro, that means it is WAY early in development meaning all information is subject to change. I really hope this works out, she's been trying to make it since the mid-90s but naturally there is some controversy about how to portray Riefenstahl, as the artist or the Nazi, ideally, it would be some reconciliation of both. We'll see.

- Just continuing with the German theme (I swear this is not intentional), a new movie is in development that I am VERY excited about. It's called The Talking Cure and depicts a fictional (I think) story of Sigmund Freud, Karl Jung and a young Russian woman whom they are treating and with whom Jung begins to fall in love, much to Freud's professional frustration. The casting is PHE.NOM.EN.AL. Sigmund Freud is going to be played by Academy Award Winner Christoph Waltz, Jung by his Inglourious Basterds costar Michael Fassbender, with Keira Knightley as the patient. I will definitely keep checking updates on this.

- Straying from Germany, but not from the 1940s, there are finally some updates on the upcoming Mildred Pierce revamp with Kate Winslet as the Joan Crawford title role. It will be produced by HBO as a five-hour mini-series later this year, and other cast members include Guy Pierce and Evan Rachel Wood. It is being written and directed by I'm Not There director Todd Haynes.

- In other projects-that-I-though-were-dying-but-aren't news, we have also gotten some news about the upcoming Jane Eyre adaptation that was originally supposed to star Ellen Page but after the writers woke up from their Juno-hyped stupor, wisely recast with Alice in Wonderland's Mia Wasikowska as Jane and Michael Fassbender (this guy is cleaning up) as Rochester. Other cast members include a number of British actors I adore such as The Dench, Sally Hawkins, and Jamie Bell. This is substantially more promising than the developing Wuthering Heights reboot starring Gemma Arterton and Gossip Girl's Ed Westwick. What has Twilight done to this novel? If you want to watch a good Wuthering Heights adaptation, I recommend Masterpiece Theater's 2009 version with Charlotte Riley and Tom Hardy.

- To wrap this up, here are some new titles out on DVD that I highly recommend:

Broken Embraces
Precious
An Education (EDIT: Not on DVD yet, coming out on March 30th, but imdb just likes to be wrong about things I guess.)

Oscar post-mortem

So if you don't want to read my live blog, which I understand cuz it's kind of an incoherent mess, here are some highlights.

Let's start with the Screenplays. I think that's where the biggest shockers came for me. I really, really was convinced that Basterds would take original screenplay. As far as writing goes, I enjoyed Basterds more than Hurt Locker, but, when looking at the history of Academy Awards, usually the Best Picture winner also wins whatever Screenplay category it's in. So in retrospect it makes total sense. I'm sure Tarantino was PISSED though, I can't blame him, it took him 10 years to write that thing.

Adapted Screenplay was surprising too, but not in a bad way. I was really glad to see Precious win something other than Supporting Actress for Mo'Nique. Whenever they were nominated, I genuinely had a hard time watching the clips. I guess I still haven't really processed the impact that film had on me. So, bravo to that writer, and to Sapphire for writing the novel "Push" which the title has repeatedly told us is the work upon which "Precious" is based.

Sandra Bullock. This wasn't surprising at all, but her speech was surprisingly moving. Her winning this actually made me respect her a lot more because a. she herself questions why she got the award and b. understands the gravity of the moment and really made the most of what it meant to her. I'm a sucker for when people cry during Oscar speeches, and this was one of the most genuine examples of that. Good on you, Bullock.

Kathryn Bigelow. Now I just need to get up on my little soap box here and take a minute to talk about Kathryn. Bigelow. Words cannot begin to describe how it feels, as a young woman with dreams of entering the film industry, to actually bear witness to the first woman to win a directing Oscar. And I cannot imagine anyone handling it with as much grace and poise as she did. Not once in her speech did she mention the fact that she was the first, not once in her speech did she even really make it about her on any level, but the way she spoke, the smile on her face, just, everything about her energy shouted "This one is for the ladies." Alice Guy Blache, Dorothy Arzner, Maya Deren, all of them, are applauding you, Bigs. I loved everything about this moment. Not just the speech, but Barbara's presentation. She took her time reading that name out, just looking down at that card as if to make sure she was reading it right. And then just, "The time has come. Kathryn Bigelow."

Cut to me collapsing into tears. Unreal. Absolutely unreal. And the icing of course was The Hurt Locker winning Best Picture.

Tonight was an historic night, and I feel priveleged to have bore witness to it.

Oscars LIVE BLOG

Hey all, so I decided to legitimately liveblog the Oscars tonight. Even though the only people who really ever look at this blog will be in the room with me, I feel like documenting my reactions. Follow the jump for more!

The Oscars: Final Predictions

So here is my shortlist, final predictions for tomorrow night's Academy Awards.

Best Supporting Actress: Mo'Nique
Best Supporting Actor: Christoph Waltz
Best Actress: Sandra Bullock
Best Actor: Jeff Bridges
Best Original Screenplay: Inglourious Basterds
Best Adapted Screenplay: Up in the Air
Best Director: Kathryn Bigelow
Best Picture: Avatar

EDIT

Best Picture: I have no effing clue. I really don't feel comfortable coming down on either Avatar or Hurt Locker. I want it to be Hurt Locker, but I genuinely have no idea.

'God loves violence.' Shutter Island.

Pictured: Leonardo DiCaprio and Michelle Williams



*THIS REVIEW CONTAINS MINOR SPOILERS, CLICK THE JUMP TO READ ON*

Great Discovery: Peter & Vandy

Pictured: Jason Ritter and Jess Wiexler

While browsing through Netflix: Instant Play today, I stumbled upon the independent romance flick Peter & Vandy, starring Teeth actress Jess Wiexler and Jason Ritter, who is making quite a name for himself in the indie circuit with films like this and the recent Good Dick. I had seen the trailer several months ago and was vaguely interested, but I do confess I went into it today simply because I had nothing better to do and felt content watching a little throw-away romantic indie. Little did I know, I was viewing what I now consider an instant favorite.

Based on the 2002 play written by director Jay DiPietro, Peter & Vandy tells the story of a young couple living in Manhattan who must face the day to day challenges of any two people looking to find love in a partner. The film is told in a series of snapshots that are presented in a skewed order, leading one to make assumptions about the chronology of particular moments that are not entirely accurate. I know what you’re thinking, “(500) Days of Summer, anyone?” and it’s true, the structure and basic plot are very similar, however, Peter & Vandy contains not a trace of the visual gimmickry that ultimately bogs down 500 Days. It is a simple story well-told, and it is the simplicity of the stylization that allows the audience to embrace that truly unique feeling that they are a collective voyeur, observing the human condition in its most fragile state.

Not only would this feeling not be possible without the careful direction of DiPietro, but also without the tender, honest acting of Wiexler and Ritter. It is incredibly difficult not to root for them, everything about their chemistry seems flawed in exactly the right way, the way that allows you to believe they are meant for each other. They’re the kind of pair that one would see in a restaurant and wonder what she was doing with a guy like him, but after a few minutes it would start to make inexplicable sense.

It's a shame the film did not see more life after it splashed during the 2009 festival circuit. Despite winning a Grand Jury Prize at Sundance, its rival (500) Days, ended up getting the distribution deals. That and its largely mixed reviews aside, if your idea of an indie romance film boils down to two people just trying to figure it out, then Peter & Vandy was made for you.

If I chose the nominees

Given my frustration with the nominations this year, I'm just going to go ahead and give my picks for the major awards

BEST ACTRESS

Abbie Cornish - Bright Star
Gabourey Sidibe - Precious
Charlotte Gainsbourg - Antichrist
Penelope Cruz - Broken Embraces
Carey Mulligan - An Education

BEST ACTOR

Ben Whishaw - Bright Star
Sharlto Copley - District 9
Jeremy Renner - The Hurt Locker
Christoph Waltz - Inglourious Basterds
Willem Defoe - Antichrist

SUPPORTING ACTRESS

Mo'Nique - Precious
Blanca Portillo - Broken Embraces
Olivia Williams - An Education
Anna Kendrick - Up in the Air
Melanie Laurent - Inglourious Basterds

SUPPORTING ACTOR

Michael Fassbender - Inglourious Basterds
Alfred Molina - An Education
Daniel Bruhl - Inglourious Basterds
Paul Schneider - Bright Star
Jackie Earle Hayley - Watchmen

BEST DIRECTOR

Kathryn Bigelow - The Hurt Locker
Jane Campion - Bright Star
Quentin Tarantino - Inglourious Basterds
Neill Blomkamp - District 9
Pedro Almodovar - Broken Embraces

BEST PICTURE

Inglourious Basterds
Broken Embraces
Bright Star
The Hurt Locker
An Education

Oscar Predictions

++ = will win
+ = could win
* = dark horse


-Best Performance by an Actress in a Supporting Role-
Penelope Cruz – Nine
Vera Farmiga – Up in the Air
Maggie Gyllenhaal – Crazy Heart
Anna Kendrick – Up in the Air +*
Mo’Nique – Precious ++

Honestly there really is no doubt whatsoever that Mo'Nique is going to win this, but Anna Kendrick is a close and admirable second.

-Best Performance by an Actor in a Supporting Role-
Matt Damon – Invictus
Woody Harrelson – The Messenger *
Christopher Plummer – The Last Station
Stanley Tucci – The Lovely Bones +
Cristoph Waltz – Inglourious Basterds ++

Again, no question it's going to be Christoph Waltz, but the other two actors have garnered a lot of praise for their work in those films.

-Best Performance by an 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 +

I do believe Sandra Bullock will win, but this is one category where an upset would not be that surprising. Even though she hasn't won any major awards, people are still talking very seriously about Carey Mulligan in An Education.

-Best Performance by an Actor in a Leading Role-
Jeff Bridges – Crazy Heart ++
George Clooney – Up in the Air +
Colin Firth – A Single Man *
Morgan Freeman – Invictus
Jeremy Renner – The Hurt Locker *

Frankly I'm just pleased to see that Jeremy Renner got the nomination. I definitely think it will be Jeff Bridges, but there's a lot of buzz about all of these actors (Except Freeman who's there just because he's Morgan Freeman)

-Best Original Screenplay-
The Hurt Locker by Mark Boal +
Inglourious Basterds by Quentin Tarantino ++
The Messenger by Alessandro Camon, Oren Moverman
A Serious Man by Joel and Ethan Coen
Up by Bob Peterson, Pete Docter, Thomas McCarthy *

I'll be pissed if Basterds doesn't win this. As someone who is not a huge Tarantino person, I have never encountered film writing like this before. It will be kind of a travesty if it loses.

-Best Adapted Screenplay-
District 9 by Neill Blomkamp and Terri Tatchell
An Education by Nick Hornby *
In the Loop by (a whole bunch of people I don’t feel like listing)
Precious by Geoffrey Fletcher +
Up in the Air by Jason Reitman and Sheldon Turner ++

It pains me to say it but it's totally going to be Jason Reitman. The other two have some buzz but it'll take a miracle for them to pull an upset.

-Best Cinematography-
Avatar ++
The White Ribbon +
Harry Potter and the Half-Blood Prince
The Hurt Locker
Inglourious Basterds *

It really depends on how the Academy wants to define cinematography. Considering the entire world of Pandora is CGI, I can see why it might not win, but still, that whole movie is based on its visuals so it'd be sort of a kick in the balls for it not to win (not that I wouldn't like to see James Cameron get kicked in the balls)

-Best Editing-
Avatar
District 9 *
The Hurt Locker ++
Inglourious Basterds +
Precious

I really don't think Avatar will win for editing, all the special effects and other technical stuff, yes, but the tension created in Hurt Locker, Basterds, and District 9 is all about the editing, which was superb on all counts.

-Best Art Direction-
Avatar ++
The Imaginarium of Doctor Parnassus *
Nine +
Sherlock Holmes
The Young Victoria

Definitely going to be Avatar, but Parnassus and Nine are a bit more old school type of art direction so it's conceivable they'll head in that direction like they have in the past.

-Best Costume Design-
Bright Star *
Coco before Chanel
The Imaginarium of Doctor Parnassus +
Nine
The Young Victoria ++

I suppose if Bright Star is only going to get one effing nomination, it may as well be for costume design. Even though it deserved so much more. Young Victoria is the kind of period piece they lose their shit over so that will probably win, but who knows.

-Best Animated Film-
Coraline
Fantastic Mr. Fox *
The Princess and the Frog +
The Secret of Kells
Up ++

It's interesting that this is the first year that the other animation studios have really stepped up their game, perhaps to end Pixar's long reign over this category. I would not be at all surprised if Princess or Fox pulls an upset here.

-Best Foreign Film-
Ajami (Israel)
The White Ribbon (Germany) ++
The Secret in Their Eyes (Argentina)
A Prophet (France) +*
The Milk of Sorrow (Peru)

I honestly do not understand at all how the submission guidelines work for Foreign Films. If they had any type of sense, Broken Embraces would be on this list, but tragically it is not. That is some bullshit. But I do really want to see The White Ribbon.

-Best Director-
Kathryn Bigelow ++
James Cameron +
Lee Daniels
Jason Reitman
Quentin Tarantino *

Let me first say that I am not predicting a Bigelow win just because I want that to happen with every last fiber of my being, I genuinely think it will happen. She's already won the CCA and the DGA, both very big deals, and let's face it the GG kind of suck at predicting the Oscars lately. I really think she can do it. Not to mention, if James Cameron wins I might vomit.

-Best Picture-
Avatar +
The Blind Side
District 9
An Education
The Hurt Locker ++
Inglourious Basterds *
Precious
A Serious Man
Up
Up in the Air

This one I'm not 100% sure about. I do think The Hurt Locker has the best chance of winning, simply given the trend of winners over the last few years (gritty reality-based dramas). If Avatar wins it will be a HUGE shift in Academy tastes and I frankly don't know if I see that happening just yet. That said, it is totally conceivable that Inglourious Basterds could win given that it won the SAG award, which has predicted some pretty incredible upsets over the last 15 years.


So yeah...I think those are the only awards anyone really cares about.

New Obsession: True Blood

Pictured (left to right): Sam Trammell, Ryan Kwanten, Rutina Wesley, Nelsan Ellis, Stephen Moyer, Anna Paquin.


Ever since its inception, I have not been a big believer in the recent vampire fad. I do not find anything terribly appealing about the Twilight series or any of its other broody-teen-vampire offshoots such as the CW’s The Vampire Diaries. And I confess, I coupled the HBO series True Blood along with that trend, and I now own up to this severe error in judgment having watched the entirety of the first season and second season.

In all honesty I should have known this would happen as HBO is well known for its quality dramatic program,s and yet I resisted True Blood as I feel compelled to resist all vampire-related media (the lone exception being the wonderful Swedish film Let the Right One In, which is currently in the midst of an American remake). Set in a small Louisiana town, Bon Temps, True Blood (for the maybe two people in the world who don’t know) is about local girl-next-door waitress Sookie Stackhouse (Anna Paquin) who meets and falls in love with a vampire named Bill (Stephen Moyer). Obviously this causes controversy as vampires have only recently “come out of the coffin” and fierce political battle is being played over whether or not America should grant them civil rights (allegory, anyone?). However, Sookie is unashamed of her relationship with Bill and soon gets enveloped in his world of the living dead.

In terms of writing and storyline, I have to separate the show from the series of novels upon which it is based as I have not read any of them and from what I hear, the show has (not unexpectedly) taken several liberties. Whatever these liberties may be, the way vampire lore is dealt with here is truly unique, which is a real achievement given the recent craze. There is the established set of “rules” for vampires, and to see it get revamped (pun completely intended) is exciting and makes the show all the more enjoyable. I was particularly fascinated by how the selling and buying vampire blood is similar to that of narcotic drugs, as are its effects. Also, synthetic blood is bottled and sold as a kind of taboo drink (a la Absinthe) called True Blood, where the show gets its title. It is in ways like these that True Blood takes an already tired bit of mythology that is currently seeing its most brutal beating –to- death and makes it fresh and downright cool. The characters are likable and completely relatable, and the views they have toward the presence of vampires in their lives is extremely realistic and was clearly made to mirror the ongoing debates over homosexual civil rights.

The aesthetic look of the show mirrors the seductive quality inherent in all the vampires, and contrary to what I initially feared upon hearing legends of the True Blood sex scenes, the nudity is not lewd or unnecessary and frankly the few sex scenes that do occur do not even go as far as HBO’s censorship limits permit. That aside, True Blood is just genuinely a well-constructed piece of television. The writing is witty and not overly melodramatic (a major pitfall for most vampire stories) and even in a world of all manner of supernatural being, you can find the humanity in any character, be they living or the living dead.

Delayed Review: Hallam Foe

Pictured: Jamie Bell and Sophia Myles

In the summer of 2007 I somehow came across this movie through imdb most likely, and after watching the trailer and reading up on it I became absolutely desperate to see it. I’m not even entirely sure why, perhaps it was the killer soundtrack or the fact that it was set in Edinburgh, where I was taking a vacation later that summer, or I have some deep psychological issue that makes me attracted to films about voyeurs. I never did get to see it in theaters as it never made a wide enough release in the US, and I arrived in Edinburgh the day AFTER its premiere at the Edinburgh Film Festival. However thanks to Netflix, I have finally been able to fulfill this small but lingering goal.

The film centers around 17-year-old Hallam Foe (Jamie Bell) who continues to struggle over the recent death of his mother, whom he adored. Hallam is convinced that she was murdered by his new step-mother Verity (Claire Forlani) but his father (Ciaran Hinds) is blinded by the power his new wife holds over him. After a strange sexual encounter with Verity, Hallam retreats to Edinburgh where he meets and spies on Kate Breck (Sophia Myles) a dead ringer for his late mother, with whom he begins a very bizarre, however oddly endearing, relationship.

Watching it I was reminded very much of the stories of Ian McEwan, in many of which is a character that is deeply disturbed yet very sympathetic and touching. There were several moments of emotion where I stepped back and realized, wow, I can’t believe I feel this strongly for a kid with this bad of an Oedipal complex not to mention the woman who seems perfectly content feeding this fantasy.

Bell and Myles are tender and complicated, and in one scene somehow manage to make a rather lewd build-up to lovemaking seem like the most adorable thing in the world (they exchange various slang words for their own private parts). The soundtrack is perfection (at least for alternative rock fans, particularly Scottish alternative rock fans) and the story as a whole is genuinely feel-good, even though at times you force yourself to question what makes it so enjoyable.

Golden Globes Roundup

So tonight was the 67th Annual Golden Globe Awards. And like they have been for the last several years, they were a boozy mess of surprise victories for better or for worse. For some reason people are still considering this as the precursor to the Oscars in terms of predictions, but, last year’s Slumdog victory aside, they have been wildly inconsistent. And I have a feeling this year will find discrepancies as well. Instead of just a little recap like I did for the Critics Choice Awards, I’m going to do this award by award, at least, the important ones.

Best Supporting Actress – Mo’Nique
Not surprising at all. Still giving the same exact speech, I hope she has something new to say at the Oscars.

Best Supporting Actor – Christoph Waltz
Also not surprising. Even less surprising is how much deeper I fall in love with him every time I see him.

Best TV Actor – Musical or Comedy – Alec Baldwin
Again, no surprise. As long as this show is on the air he is going to win this award.

Best TV Actress – Musical or Comedy – Toni Collette
I don’t watch The United States of Tara, but I know she won the Emmy for this so, that’s pretty awesome.

Best TV Actor – Drama – Michael C. Hall
I also don’t watch Dexter, which I know is a mistake on my part, but, I’m actually glad he won this. I really was pulling for Jon Hamm, but, I’m not upset.

Best TV Actress – Drama – Juliana Margulies
I hear good things about The Good Wife so I’m not surprised she won. I’m sad January Jones lost again, but, I can understand them not wanting to reward a woman who can only really play one role.

Best TV Show – Musical or Comedy – GLEE
WHOA. I was shocked that this won. SHOCKED. I really thought it was going to be Modern Family. As much as I love Glee, I really don’t know how to feel about this. It’s still finding its footing in terms of what it’s trying to be and I don’t know that it really deserved to be rewarded so early in its run.

Best TV Show – Drama – Mad Men
Yeah. It couldn’t not be.

Best Screenplay – Jason Reitman & Sheldon Turner for “Up in the Air”
Kind of annoyed. I really wanted it to be Quentin Tarantino, even though he has proven himself to be a colossal egomaniac. I mean, the man pumped his fists when his name was called for the Best Director nominees.
Best Actor – Musical or Comedy – Robert Downey Jr.
WHAT? SERIOUSLY? I did not see Sherlock Holmes but, I was stunned that he beat Daniel Day Lewis and Joseph Gordon Levitt. He made an amazing speech though. Hilarious.

Best Actress – Musical or Comedy – Meryl Streep (Julie & Julia)
I can’t wait for the Oscars to give Meryl Streep a lifetime achievement award. That is going to be the longest speech in the history of award shows and I am going to love every minute of it. This woman is a goddess.

Best Actor – Drama – Jeff Bridges
Again, he just seems like a cool guy even though that movie strikes me as being The Wrestler with a musician.

Best Actress – Drama – Sandra Bullock
I am watching The Blind Side tomorrow. I need to understand what is happening.

Best Director – James Cameron
UGH. BULLSHIT. Honestly though, what was he “directing” in this film? Telling the actors when to jump and how to pretend they’re riding a giant pterodactyl? I really liked Avatar, but not for its directing.

Best Picture – Musical or Comedy – The Hangover
At this point I’m not that surprised this won. I still think its weird that it was nominated alongside Nine just in terms of moods and themes, but, whatever.

Best Picture – Drama – Avatar
Not at all surprising but slightly disappointing. In terms of spectacle, it’s astounding and I love every minute of it, but it is not well-rounded enough with writing and plot structure to be considered the best picture of the year.

So all in all, I am reminded once again that the Golden Globes are pretty ridiculous. Thank god for Ricky Gervais.

Critics Choice Awards Roundup

Well it has been quite an eventful evening for Hollywood as the 15th Annual Critics Choice Awards make their picks of the years best and brightest. Many people look to the Golden Globes as the big indicator for the Oscars, but in fact the CCAs have had a much better track record, especially in recent years, for predicting the Academy Awards. And that is part of what made some of tonight’s wins so damn exciting.

In terms of the show itself I personally enjoyed Kristen Chenoweth as host. Her opening bit spoofing Inglourious Basterds was great, as was the song that followed. The first award was for acting ensemble, which I actually didn’t realize was an award for them, I thought that was strictly a SAG thing, but whatever. It (not surprisingly) went to the cast of Inglourious Basterds, for whom the ever-lovely Diane Kruger was spokesperson. A great win to start off the show in my opinion.

Then came Supporting Actress and surprise surprise, Mo’Nique was victorious. I really am glad she is winning these awards. Her performance in that movie is too rigorous to be left empty-handed. It was so sweet to see how proud Lee Daniels was too and how much love that whole cast and crew have for each other.

Soon the award for Best Action movie went to Avatar, Best Comedy went to The Hangover, and Best Animated Feature went to Up. Frankly I’m always annoyed when they divide movies up based on genre. It’s a very MTV Movie Awards thing to do, if that makes any sense, it just strikes me as a big cop out. If it’s a great movie, nominate it for best picture, if not, don’t do it the disrespect of rewarding it within a particular label. That’s like saying “ ‘Avatar’ was great!...for an Action movie.” It’s just annoying. If it’s really a good movie, it will transcend the genre, which frankly I think Avatar did but…whatever.

Anyway. Christoph Waltz won Best Supporting Actor much to my delight. It’s really a problem how attractive I find him, even in the movie. I mean, physically, obviously I am not fawning over the Nazi-ness. But he’s just so damn likable. And he’s got kind of a rough-around-the-edges-Daniel-Craig appeal to him that I am a big fan of. His speech was very sweet and humble and adorable.

Adapted Screenplay went to Jason Reitman for Up in the Air, not surprising but kind of meh mainly because I really am not a fan. Original Screenplay went to Quentin Tarantino who made the most backhandedly arrogant speech I’ve ever heard. He dedicated the award to the actors, but then made it about the fact that he never worked with stupid actors because they couldn’t understand his dialogue, and he was grateful to have a group of people who could speak “my poetry.” Ew. And he looks like a goblin.

Then there was this weird “let’s cleverly find a way to breeze through the awards we don’t care about” bit and of that rapid-fire montage the only things I really cared about were Broken Embraces winning Best Foreign Film, Up winning Best Score, and Avatar winning all the technical awards that they just this year added to their repertoire for the sake of giving them to Avatar. Which I am okay with, although there is a part of me that is still at times more impressed with the CGI work in District 9.

And then effing history was made. Samuel L. Jackson stepped out to announce Best Director. When he opened the envelope, even he stopped in hesitation before announcing the music to my ears, “Kathryn Bigelow.” HELL. YES. I know it’s only the first round of Awards season, but it doesn’t even matter. Whatever directing award Bigelow wins from here on out, she will be the first woman to win it. So let’s hope this was just the first step in a long victorious journey. The best was when they showed James Cameron’s miffed but accepting face at the sight of his ex-wife (looking AMAZING for 58!?) strut past him and his current (and 5th) wife. Her speech was good but not TOO good, she's saving up for the Oscars no doubt. And I loved how later in the show Chenoweth like, went out of her way to say basically "Hey, the first female director just won. This is kind of a big deal."

Best Actor went to Jeff Bridges for Crazy Heart. I really want to hang out with that guy, he seems like a really cool person. Then came Best Actress, and all hell broke loose. A TIE! Between Meryl Streep for Julie and Julia and none other than SANRDA BULLOCK for the Blind Side. I was a non-believer, but now that even the critics are saying she is that good, I am going to watch the Blind Side (but on my comp. I still refuse to pay money for it.). Regardless, she does seem like a very genuine person and I respect that. And move over Adam Lambert, there’s a new impromptu-stage-kiss for us to be all abuzz about thanks to Meryl Streep and Sandra Bullock.

And finally, in one of the most faith-reaffirming decisions of the night, Best Picture went to none other than The Hurt Locker. Well done Critics. Well done. See, this is why I stressed on my top 10 lists that they were of my FAVORITE, not what I felt was the best. Yes, Basterds and Avatar were my favorites of the year, in that they bore a replay value for me above the other films, but I definitely believe that as an overall movie, The Hurt Locker was hands down the best film of the year.

"You don't know what it's like to die alive." : Next to Normal.

Pictured (from left to right): Aaron Tveit, Alice Ripley, J. Robert Spencer

Prior to entering the theater, I was given fair warning that I would not get through Next to Normal without a fair share of tear-shedding. I took that statement in stride but with a grain of salt as I knew very little about the show and what I knew seemed upsetting but not necessarily devastating. However, by the end of the first act, I was a weeping mess.

Next to Normal is one of the rare musicals that reminds you that the term “musical” doesn’t have to mean flashy song and dance numbers with glitzy production and glitter. There is no dancing in this show and the characters are dressed in everyday garb at all times. Indeed, it is less of a musical than it is a play with some of the dialogue sung.

It is a drama strongly in the vein of Arthur Miller in that it is about one member of one family who has one big problem that leaves its impact on every other member of the household. Diana, the matriarch of the Goodman family, has suffered from bipolar disorder for the last 16 years. Her husband Dan spends his days trying to stabilize his wife within the home as various doctors prescribe all sorts of medication. Her daughter, Natalie, struggles to find her own identity living with a mother who blatantly places favoritism on Natalie’s older brother, Gabe.

Overall the performances are strong and emotionally relentless. Alice Ripley, who won the Tony Award for Best Actress, is the life force of the show, presenting Diana’s disorder as something to understand and sympathize with rather than just pity. However, vocally speaking, Ripley’s annunciation of certain words was unconventional to the point of being distracting. While it did not exactly remove me from the moment, it certainly stood out in terms of the show’s overall aesthetic experience.

The character who earned the greatest sympathy from me was disgruntled daughter Natalie, played by Jennifer Damiano, who is clearly the heaviest victim of Diana’s disease. Hers struck me as the most interestingly evolving arc of the story, and the eventual parallels between her actions and those of Diana is troubling but fascinating, a testament to the expert writing of Brian Yorkey.

Next to Normal is the next step up from Spring Awakening in terms of so-called “rock” musicals. However, this is not so much a “rock” musical as it is a musical in which the music itself accurately reflects the emotions of the piece as a whole. None of the songs are concerned with sounding pretty, they are orchestrated around the character and what he or she is feeling. And in my mind, that is how music was intended to be written.

Top 10 favorite films of the Decade.

Same rules as the last list apply here. This isn't my perception of the "best of the decade" just my personal favorites.



10. JEUX D’ENFANTS (2004)
Directed by YANN SAMUELL

There’s nothing terribly revolutionary about this film, but I just love it. Marion Cotillard and Guillaume Canet are incredibly endearing together and it’s just one of those movies that makes you feel warm and fuzzy inside. I can watch this over and over again without getting tired of it, in fact, I’ve done that several times. Cleverly written with an overarching sense of whimsy to the whole thing, Jeux D’Enfants is a real pleasure to watch.


9. THE FALL (2006)
Directed by TARSEM SINGH

Perhaps the most visually stunning film I have ever seen. The real key to the experience is realizing that none of the landscapes or settings are created with CGI. Every stunningly beautiful location is a real place and not enhanced by technology at all. It’s no wonder it took 4 years to make. Tarsem is a true artist and uses the elements of cinematography wisely and powerfully. It captures you from the beautiful opening black and white sequence up until the very end.


8. ATONEMENT (2007)
Directed by JOE WRIGHT

Joe Wright is one of my favorite directors and this is a truly great movie. Wonderful performances and stylistic choices that accurately reflect the film’s three acts. It’s one of those films where every frame can be dissected as a statement about the entire movie and that to me is a feat. What Ian McEwan did with literary elements, Joe Wright does with cinematic ones, the mark of a gifted director very skilled at adapting novels into films.


7. ART SCHOOL CONFIDENTIAL (2006)
Directed by TERRY ZWIGOFF

Much like Jeux D’Enfants, this is just a movie that I love for no other reason than the fact that it’s enjoyable. Maybe it’s because I know examples of several of the people who are featured in this film (ie. pretentious art students) or because it has the most random actors in it (John Malcovich? Jim Broadbent? Angelica Houston??) or maybe it’s because it’s just downright awesome.


6. LITTLE MISS SUNSHINE (2006)
Directed by JONATHAN DAYTON and VALERIE FARIS

Tragically, every remotely clever indie comedy since this came out has been referred to as “this year’s Little Miss Sunshine,” but nobody seems to realize that no, it is not. There has not been an indie comedy, hell, any kind of comedy, that has really garnered worthy comparison to this gem. Great performances and excellent writing, this is indeed the film every comedic writer has been trying to duplicate, but none have been successful.


5. ONCE (2007)
Directed by JOHN CARNEY

This is a pretty magical movie. It’s a love story involving relatively minimal love, and is more about the power of friendship than romance. Talk about movies that make you feel warm and fuzzy. Glen Hansard and Marketa Irglova are not only gifted musicians, but as this proves, very gifted actors. I don’t think there was a single person in the audience at the 2008 Academy Awards that wasn’t cheering when they won Best Original Song. You can’t help but fall in love with this film.


4. PRIDE & PREJUDICE (2005)
Directed by JOE WRIGHT

Yes yes I have two Joe Wright films on this list, but I can’t help the fact that he makes films I adore. This is one of my favorite movies of all time. It’s just so soothing and relaxing to watch, and was an incredible debut for Wright and a career-changing performance from Keira Knightley. I would have hated this book if I didn’t have this movie playing in my head as I read it.


3. MOULIN ROUGE! (2001)
Directed by BAZ LUHRMANN

This movie was pretty revolutionary for me. It turned up the volume in a way I had never seen a film do, and I loved every single minute of it. There is just something undeniably exhilarating about this film. It’s one that I watch and then wait a very long time before watching again, and every time I love it more. Luhrmann is a visionary, no doubt about it, and Moulin Rouge! is a quintessential example of that.


2. SLUMDOG MILLIONAIRE (2008)
Directed by DANNY BOYLE

I don’t think there has been a film in recent years that has emotionally resonated with me the way this film did. I have never so desperately rooted for a hero as I did Jamal Malik. I’m glad I got to see this in theaters prior to the crazy hype, so I saw it relatively expectation-free. This is the kind of movie that reminds you of why you love movies in the first place, and the ability they have to transport an audience.


1. THE LORD OF THE RINGS: THE RETURN OF THE KING (2003)
Directed by PETER JACKSON

For me, the Lord of the Rings movies sort of go beyond movies. They’re a genre in and of themselves. Yes we have Avatar ushering in a new way of filmmaking, but it was a method that originates in these films with the creation of creatures like Gollum. There are some movies that are not so much films as they are experiences, and this is probably the best example of that idea. It is overwhelming in scope and exists on a level that neither Avatar nor its successors will be able to achieve. As far as I’m concerned, this is the Star Wars of my generation.

Top 10 favorite films of 2009.

Let me preface this by saying this is not my interpretation of the BEST films of 2009, but a list of my FAVORITE films of 2009. This is based on my experience and reaction while watching the film, not necessarily the quality of the film itself.


10. WATCHMEN
Directed by ZACK SNYDER

Opinions on this film were pretty much split down the middle between people who had read the book and people who hadn’t, save for Roger Ebert’s glowing review with no knowledge of the book whatsoever. Having read Alan Moore’s masterpiece a few times, I loved this film. It captured the novel to a t, and overall I was extremely impressed. Somehow I managed to see this 5 times in theaters and never got tired of it.


9. UP
Directed by PETE DOCTOR and BOB PETERSON

Pixar really understands how to make animated movies for both children and adults. I was weeping within the first 15 minutes of Up and the last. With a story as sweetly endearing as Wall-E, if not more so, I gladly allowed myself to get pulled through this film by my heartstrings. I laughed, I cried, I cheered, all in all, a great treat.


8. ADVENTURELAND
Directed by GREG MOTTOLA

I was actually very surprised by how much I enjoyed this film. It was marketed as a laugh-out-loud comedy by the guy who made “Superbad” but it turned out to be a very tender and heartfelt coming-of-age story marked by some real genuine laughs. Jesse Eisenberg is essentially a more talented Michael Cera, and his awkwardness fueled how utterly relatable the entire film was.


7. PRECIOUS
Directed by LEE DANIELS

Probably the most powerful film of the year. I can’t really say I “enjoyed” it per se, but I recognize its importance and was deeply moved by its message and performances. That said, cinematographically it left quite a bit to be desired, which is why I did not place it higher on this list.


6. DISTRICT 9
Directed by NEILL BLOMKAMP

One of the year’s most pleasant surprises. I think a lot of people, myself included, expected this to be little more than a big-explosion sci-fi flick. Little did I know, I was walking into an extremely intelligent, superbly crafted allegory for apartheid. Thanks to well-designed aliens, the audience was able to relate to the creatures and truly sympathize with them, indeed, I teared up several times.


5. BRIGHT STAR
Directed by JANE CAMPION

One of the most tragically under-recognized films of the year. The story of John Keats and Fanny Brawne is one of history’s most beautiful and poignant, and I cannot imagine a more perfect rendering of it than this film. Abbie Cornish is radiant, and Ben Whishaw is the personification of Keats’ poetry. The dialogue is written with utmost delicacy, and the art direction is entrancing. Gorgeous.


4. THE HURT LOCKER
Directed by KATHRYN BIGELOW

Finally, an Iraq war film that does not preach or take a side on any level. It is simply a close-up examination of a day in the life of one of the military’s most high-risk professions: bomb diffusing. Through a captivating performance by Jeremy Renner and expert direction from Kathryn Bigelow, we learn that some men are born soldiers. Some men find a dirt road in the middle of Baghdad more homey than a local grocery store.


3. BROKEN EMBRACES (LOS ABRAZOS ROTOS)
Directed by PEDRO ALMODOVAR

Almodovar is one of if not my favorite film director, and this is a fine example of why. He is an expert in storytelling and manages to weave some of the most complex melodramas without an ounce of it getting lost in itself. Penelope Cruz is, in the words of Roger Ebert “a life force.” Broken Embraces is one of the most captivating and richly told narratives of film this year.


2. AN EDUCATION
Directed by LONE SHERFIG

I think of all the films this year, An Education spoke to me on the most personal level. I can absolutely relate to Jenny’s plight, as most young women can I believe. I recall in an interview Carey Mulligan saying that after a screening, many parents were saying they wanted their daughters to see it, and it is no mystery why. It is one of those rare films where every element clicks perfectly, making a truly enjoyable moviegoing experience.

1. (TIE)


INGLOURIOUS BASTERDS
Directed by QUENTIN TARANTINO


AVATAR
Directed by JAMES CAMERON


I selected these two as a tie for #1 because I loved them both equally, though for polar opposite reasons. Basterds I love because it brings new life to that classic style of Hollywood filmmaking, a nice homage to the past. Avatar I love because it represents the future of filmmaking, and is ushering in an entirely new way of approaching the process. Both are colossal epics, and both are supremely captivating. Basterds has the upper hand on the writing, but Avatar is a visual feast that keeps your jaw dropped from start to finish.


Stay tuned for my top 10 films and top 5 TV shows of the decade.