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