tag:blogger.com,1999:blog-78502921688964831092024-03-13T20:19:16.398-07:00Bucketful of ClichésI'm a guy who loves his movies. I also love cats, iced tea, music and women. Although women are harder to deal with in the real world then they seem on film.VaderMcCandlesshttp://www.blogger.com/profile/14300294940644407356noreply@blogger.comBlogger12125tag:blogger.com,1999:blog-7850292168896483109.post-55813508260808498662010-12-26T12:31:00.001-08:002010-12-26T17:47:49.136-08:00My picks for films of 2010<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_cxL0QHyOz-Q/TRemXv4OHTI/AAAAAAAAALE/MxhMbZw7tL8/s1600/runaways_poster-535x792.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 135px; height: 200px;" src="http://2.bp.blogspot.com/_cxL0QHyOz-Q/TRemXv4OHTI/AAAAAAAAALE/MxhMbZw7tL8/s200/runaways_poster-535x792.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5555091592304270642" /></a>
<br /><meta charset="utf-8"><span class="Apple-style-span" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; color: rgb(51, 51, 51); line-height: 19px; "><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">
<br /></p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">Favorites:</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">THE RUNAWAYS - Great music, exhilarating performances (Shannon deserves a supporting actor nod), great 70s atmosphere and delightfully obscene. Easily my favorite film of the year. I'm blindly in love with each and every frame.</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">INCEPTION - Nolan's visuals and unique spin on the heist film combined with some fine performances (Cotillard in particular) elevate Inception from a b-genre experiment to the stuff dreams are made of.</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">TOY STORY 3 - Pixar never ceases to impress, packing Toy Story 3 with more laughs and tears than you would think Woody Buzz and the gang were capable of. They even utilize tacked-on 3D to immerse an audience in their world more effectively than Avatar. </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">THE GHOST WRITER - Polanski's best mystery since Chinatown reminds you why he's one of the masters of uneasy tension and the mystery that seems just out of reach.</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">WINTER'S BONE - A family drama epic in scope, but with a powerful emotional core in Jennifer Lawrence (I'm betting n her to win Best Actress) and an Oscar-worthy supporting turn in John Hawkes.</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">THE KILLER INSIDE ME - One of the most visually astonishing and harrowing films of the year, both exhilarating and sickening. </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">TRUE GRIT - The Coen's latest is at once a bleakly beautiful love letter to westerns and a hilarious dark comedy. It's their fifth attempt at something that didn't spring directly from their heads, but it has the uniquely Coen feel of a Fargo or Miller's Crossing.</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">EXIT THROUGH THE GIFT SHOP - Banksy makes his directorial debut - or does he? - with this witty, fast and fascinating documentary on the graffiti art movement.</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">SCOTT PILGRIM VS THE WORLD - Edgar Wright's most energetic, inventive and fun film mixes high-energy video game and comic book aesthetics within the purely visual world of film masterfully. The most aesthetically astonishing film this year.</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">KICK-ASS - Matthew Vaughn's comic-book film isn't afraid to draw blood. At once a satire of the modern superhero movie and it's real-world implications, while also basically wish-fulfillment for bloodthirsty would-be vigilantes, Kick-Ass is fun, dark and pervasive. It may not be a great film, but it's easily one of the year's most entertaining. Chloe Moretz gives one of the year's most memorable performances as Hit-Girl.</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">SPLICE- This odd science fiction horror bends more than just genres and feels like an early Cronenberg film with a higher budget. This one is best left unspoiled.</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">THE SOCIAL NETWORK - Fincher and Sorkin's collaboration will probably win this year's Best Picture. It's an excellent film, perfectly capturing the fleeting feelings and friendships in the age of Facebook, and Jessie Eisenberg deserves the Oscar for his outstanding performance. Both Justin Timberlake and Andrew Garfield deserve nominations as well. Also contains one of the year's best quotes: "You know what's cooler than a million dollars? A billion dollars."</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">CARBON NATION - The natural and much-needed follow-up to An Inconvenient Truth. Carbon Nation recognizes the seriousness of climate change, but realizes somber voice-overs and pretty penguins isn't as effective as good-natured humor and informative investigation when prompting people to change their ways. This one I can guarantee you didn't see, but check it out here: <a href="http://www.carbonnation.org/" rel="nofollow" target="_blank" style="cursor: pointer; color: rgb(59, 89, 152); text-decoration: none; ">www.carbonnation.org</a></p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">HOW TO TRAIN YOUR DRAGON - Dreamworks' surprise hit deserved it's success for delivering a real emotional and visceral thrill with stunning 3D, achieved not only through the technology's visual pop, but well done traditional storytelling.</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">PIRANHA 3D - The most unabashedly fun exploitation film this side of Grindhouse. It isn't half as good as that film, but that's the point; it's closer to real exploitation.</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">HARRY POTTER AND THE DEATHLY HALLOWS PART I - Harry Potter 7.0 managed to improve upon the book (for me at least), making it more urgent and engaging. This series is fantastic, and although I wish Yates hadn't been tapped for the last 3 books/4 movies, if Part I is any indication, Part II will be a brilliant finale.</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">
<br /></p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">
<br /></p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">Ones I reeeally enjoyed but didn't feel like writing a ton about for you:</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">BLACK SWAN - maybe not emotionally captivating, but an exquisitely paranoid journey</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">BURIED - the year's most inventive thriller</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">CITY ISLAND - a quiet and funny family dramady</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">THE CITY OF YOUR FINAL DESTINATION - surprisingly not the latest installment in the Final Destination franchise</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">EASY A - a surprise comic gem a la Mean Girls, Easy A turned Emma Stone into a leading lady</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">THE FIGHTER - contains some of the year's most electrifying performances</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">HOT TUB TIME MACHINE - Ok, NOT a good film, but the best time travel movie this year, hands down</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">I AM LOVE - fantastic filmmaking, if not the most emotionally compelling</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">JACK GOES BOATING - cute and touching romance with the perfect pop-soundtrack</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "><meta charset="utf-8"><span class="Apple-style-span" style="line-height: 19px; font-size: 13px; ">THE KING'S SPEECH - thrilling and funny, the best kind of Oscar-bait</span></p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">NOWHERE BOY - Aaron Johnson is breathtaking as a young John Lennon</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">SALT - this Bourne-esque action pick was a welcome escape from disappointing summer releases</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">SHUTTER ISLAND - Scorsese's love for Val Lewton shows throughout each frame</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">127 HOURS - Boyle's energy bursts through the screen, and James Franco's arm</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">YOUTH IN REVOLT - Michael Cera's other film was also a commercial failure, even though it's hilarious</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">
<br /></p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">
<br /></p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">WORST FILMS OF THE YEAR (that I saw):</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">ALICE IN WONDERLAND - Tim Burton's abortion of a film failed to leave an impression with it's tired visuals, poor 3D and unnecessary "re-imagining" of an already captivating story.</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">SHE'S OUT OF MY LEAGUE - This cheap Judd Apatow knock-off simply didn't provide any laughs.</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">MY SOUL TO TAKE - Wes Craven's newest felt like a bad '90s teen horror rip-off of a '90s Wes Craven horror flick. This one was at least hilariously bad, at least until the last 15 minutes, which were just dull.</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">JONAH HEX - This awkward semi-steampunk western failed to deliver fun action or memorably campy laughs. It's a shame, because the original script, from the creators of CRANK, was apparently pretty badass.</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">
<br /></p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">
<br /></p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">Overall there were a ton of excellent films this year. There were also a bunch that sort of just... happened (Iron Man 2, Hereafter, Robin Hood, The A-Team, Despicable Me, Devil, etc). Some of those were pretty decent (Iron Man's cast was inspired and The A-Team was a guilty summer pleasure), but overall a lot of the major releases this year felt lackluster. This note may feel more like an assessment of all the films I've seen this year than a "best of" list, but trust me, I've left a lot out.</p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; "> </p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">
<br /></p><p style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: 1.5em; ">So, there you have it. I didn't see everything that came out, and there are a ton I missed out on and mean to watch. Meanwhile, feel free to rip apart, comment on, or agree with my opinions. What was your favorite film this year? Least favorite?</p></span>VaderMcCandlesshttp://www.blogger.com/profile/14300294940644407356noreply@blogger.com0tag:blogger.com,1999:blog-7850292168896483109.post-31152254994206224972010-03-02T22:08:00.000-08:002010-03-02T22:13:59.628-08:00The IFC News Podcast - And Me!For anyone who doesn't already, you should start listening to the <a href="http://www.ifc.com/news/podcast/">IFC News Podcast</a>. Allison Willmore and Matt Singer do a really good job talking about interesting film-related topics for 45-60 minutes each week. By the way, this week's episode (<a href="http://www.ifc.com/news/2010/03/oscars.php">The Great 2010 Oscar Queso Challenge</a>) features some of my email in response to the last week's episode, not that that should keep you from listening to it (it starts at the 41:12 mark).VaderMcCandlesshttp://www.blogger.com/profile/14300294940644407356noreply@blogger.com0tag:blogger.com,1999:blog-7850292168896483109.post-75402508671300461332010-02-15T20:01:00.000-08:002010-02-15T22:08:18.414-08:00Thoughts on Oscar Nominations<div style="text-align: center;"><!--StartFragment--> <p class="MsoNormal" style="line-height:20.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">For this post I’m stealing something from Emma over at <a href="http://zummer.blogspot.com/2010/02/oscar-nominations-2010.html"><span class="Apple-style-span" style="color:#000000;">All About My Movies</span></a>: My take on some of the 2010 Academy Awards nominations. I’ve left out the short films categories because I haven’t seen any of them, but if that changes I’ll be sure to post about those as well.<o:p></o:p></span></b></p> <!--EndFragment--> </div><span class="Apple-style-span" style="color:#000000;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_cxL0QHyOz-Q/S3oZw2i7aTI/AAAAAAAAAKo/wKTMk66hnGE/s1600-h/ANVIL.jpg"></a></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_cxL0QHyOz-Q/S3oY4aehXhI/AAAAAAAAAKg/p8gxyQsc4hE/s1600-h/Oscar-Nominations.jpg" style="text-decoration: none;"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 268px;" src="http://3.bp.blogspot.com/_cxL0QHyOz-Q/S3oY4aehXhI/AAAAAAAAAKg/p8gxyQsc4hE/s400/Oscar-Nominations.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5438686857462373906" /></a> <!--EndFragment--><div><!--StartFragment--> <p class="MsoNormal"><b><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Best picture<o:p></o:p></span></b></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Avatar</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (James Cameron and Jon Landau)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The Blind Side</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Gil Netter, Andrew A. Kosove and Broderick Johnson)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">District 9</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Peter Jackson and Carolynne Cunningham)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">An Education</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Finola Dwyer and Amanda Posey)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The Hurt Locker</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Katheryn Bigelow, Mark Boal, Nicholas Chartier and Greg Shapiro)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Inglourious Basterds</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Lawrence Bender)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Precious: Based on the Novel “Push” by Sapphire</span></u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"> (Lee Daniels, Sarah Siegel-Magness and Gary Magness)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">A Serious Man</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Joel Coen and Ethan Coen)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Up in the Air</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Daniel Dubiecki, Ivan Reitman and Jason Reitman)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Up</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Jonas Rivera)<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">I’m looking forward to what the expanded nomination list for Best Picture brings us in the future, but I have to say I cannot imagine why something as obvious and overrated as <i>District 9 </i>got a Best Picture nom over the far more entertaining sci-fi blockbuster of the year: <i>Star Trek. </i>Also: <i>The Blindside</i>? Really? I know its got old-school Hollywood behind it, but it really looks like nothing more than a Lifetime original movie with Sandra Bullock in the lead (I’ll admit I haven’t seen it, but it is the <b>only</b> Best Picture nominated film I have yet to watch). Everything else here is pretty much as expected. I’m rooting for <i>Up</i>, my favorite of the year, but it’s looking like <i>Avatar </i>and <i>The Hurt Locker </i>are the favorites (although I wouldn’t count <i>Precious </i>out of the running). Personally I feel that <i>Up</i>, <i>The Hurt Locker</i> and <i>Up In the Air </i>are the best films on the list, in that order.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal"><b><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Directing</span></b><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"><o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Avatar</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (James Cameron)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The Hurt Locker</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Kathryn Bigelow)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Inglourious Basterds</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Quentin Tarantino)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Up in the Air</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Jason Reitman)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Precious</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Lee Daniels)<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Kathryn Bigelow is easily the best choice for Directing in my opinion. Rietman and Tarantino both pulled off some fine films, and Cameron brought us some stunning technological innovations and thrilling spectacle, but I wouldn’t give him another statue for it. Also, Lee Daniels? Wasn’t his direction one of the problems even critics who loved <i>Precious </i>have with that film?<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal"><b><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Actor in a leading role</span></b><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Morgan Freeman in <u>Invictus</u><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Jeff Bridges in <u>Crazy Heart</u><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">George Clooney in <u>Up in the Air</u><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Colin Firth in <u>A Single Man</u><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Jeremy Renner in <u>The Hurt Locker</u><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">I’ve seen every performance here save for Freeman’s in <i>Invictus.</i> Bridges gets my vote, with Firth and Renner coming in at a close second. I love George Clooney in <i>Up In the Air </i>as well. Everything here seems quality, although <i>Invictus </i>looks suspiciously like filler, especially with this year’s performances from the likes of Nicolas Cage (<i>Bad Lieutenant</i>) or William Dafoe (<i>Antichrist</i>).<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal"><b><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Actress in a leading role</span></b><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Meryl Streep in <u>Julie & Julia</u><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Sandra Bullock in <u>The Blind Side</u><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Helen Mirren in <u>The Last Station</u><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Gabourey Sidibe in <u>Precious</u><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Carey Mulligan in <u>An Education</u><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">This is one of the weakest categories unfortunately. I know I’m not the only person the feel that Bullock’s nomination is a sure sign of the apocalypse, but the sheer lack of quality leading roles for women this year was depressing. I haven’t seen <i>The Last Station</i> and although Mirren’s precsence here feels like filler, I can’t help but feel it must be better than Bullock and at least on a par with Streep in <i>Julie & Julia. </i>Mulligan was exquisite in <i>An Education </i>but that doesn’t mean that film wasn’t one of 2009’s most overrated. I have a feeling this one will come down the Gabourey Sidibe and Oscar darling Streep. I love Streep, but I don’t think Julia Childs is one of her best performances, so I suppose I’ll go with Sidibe, who rally came from out of nowhere to deliver a quality performance.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal"><b><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Actress in a supporting role<o:p></o:p></span></b></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Mo'Nique in <u>Precious</u><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Vera Farmiga in <u>Up in the Air</u><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Penélope Cruz in <u>Nine</u><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Anna Kendrick in <u>Up in the Air</u><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Maggie Gyllenhaal in <u>Crazy Heart</u><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Mo’Nique has this one in the bag, no question. Gyllenhaal was excellent alongside Jeff Bridges in <i>Crazy Heart </i>though and has been deserving Oscar attention for years now. Both Farmiga and Kendrick were delightful semi-surprises this year, and it looks like Cruz was actually filler this year, seeing as <i>Nine </i>was pretty much panned for being a kitschy remake of 8 ½/Broadway adaptation.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal"><b><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Actor in a supporting role</span></b><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Christoph Waltz in <u>Inglourious Basterds</u><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Christopher Plummer in <u>The Last Station</u><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Matt Damon in <u>Invictus</u><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Stanley Tucci in <u>The Lovely Bones</u><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Woody Harrelson in <u>The Messenger</u><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Alright, here I’ve only seen <i>Inglourious Basterds </i>but I think it’s safe to say Waltz is just as safe, if not more so, than Mo’Nique. Out of the other nominations I have a feeling Harrelson’s is the next best and, although this is his first nomination in a career that more than deserves Oscar attention, I doubt Tucci in <i>The Lovely Bones </i>will bring him any gold.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal"><b><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Animated feature film</span></b><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"><o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Up</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Pete Docter and Bob Peterson)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The Princess and the Frog</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Ron Clements and John Musker)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Coraline</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Henry Selick)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Fantastic Mr. Fox</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Wes Anderson)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The Secret of Kells</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Tomm Moore)<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">This category is one of the more interesting. Obviously I feel that <i>Up </i>would deserve the Best Animated Feature award the most, but I would rather see it win Best Picture and give <i>Fantastic Mr Fox </i>the animation award. Both <i>Coraline </i>and <i>The Princess and the Frog </i>had their unique charms, although I think <i>Coraline </i>would deserve the Oscar for it’s originality and dark tone over Disney’s return to 2D. As for <i>The Secret of Kells, </i>which I had never heard of before the nominations announcements, I can only go by the <a href="http://www.youtube.com/watch?v=MTPAvY4y0pY"><span class="Apple-style-span" style="color:#000000;">trailer</span></a>, which looks a little underwhelming.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal"><b><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Foreign language film<o:p></o:p></span></b></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Ajami</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Scandar Copti and Yaron Shani, Israel)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">A Prophet</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Jacques Audiard, France)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The Secret of Her Eyes</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Juan Jose Campanella, Argentina)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The White Ribbon</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Michael Haneke, Germany)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The Milk of Sorrow</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Claudia Llosa, Peru)<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal"><b><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Documentary</span></b><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (feature)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Burma VJ</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Anders Østergaard and Lise Lense-Møller)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The Cove</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Louie Psihoyos and Fisher Stevens)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Food, Inc</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Robert Kenner and Elise Pearlstein)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Judith Ehrlich and Rick Goldsmith)<o:p></o:p></span></p> <p class="MsoNormal"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Which Way Home</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Rebecca Cammisa)<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Here I’ve only seen <i>Food, Inc</i> which I was pleased to see get nominated. I’ve only heard excellent things about <i>The Cove </i>and consider it the frontrunner since I’ve heard little to nothing about the other titles. Glaring omissions: <i>Anvil! The Story of Anvil </i>and <i>Capitalism: A Love Story<o:p></o:p></i></span></p> <!--EndFragment--> </div><div><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="http://1.bp.blogspot.com/_cxL0QHyOz-Q/S3oa8vqizTI/AAAAAAAAAKw/3vEAtTy4QUQ/s200/capitalism_a_love_story.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5438689130892676402" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 136px; height: 200px; " /> <!--EndFragment--> </span><div><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "></span></div></div><div><div style="text-align: center;"> <!--StartFragment--> <p class="MsoNormal" style="text-align: left;"><b><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Writing</span></b><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (adapted screenplay)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">District 9</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Neill Blomkamp and Terri Tatchell)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">An Education</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Nick Hornby)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Precious</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Geoffrey Fletcher)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Up in the Air</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Jason Reitman and Sheldon Turner)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">In the Loop</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Jesse Armstrong, Simon Blackwell, Armando Iannucci and Tony Roche)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Having seen all of these films I would pick <i>In the Loop</i> for it’s <i>Strangelove</i>-esque portrayal of world politics and razor-sharp expletive filled dialog. <i>Up In the Air </i>had a nice Capra-esque tone to it, and although <i>An Education </i>has Nick Hornby going for it, I see <i>Precious </i>as the favorite in this category. Shame on <i>District 9 </i>for wasting more than one important nomination.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: left;"><b><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Writing</span></b><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (original screenplay)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The Hurt Locker</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Mark Boal)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Inglourious Basterds</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Quentin Tarantino)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">A Serious Man</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Joel and Ethan Coen)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Up</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Pete Docter and Bob Petersen)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The Messenger</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Alessandro Camon and Oren Moverman)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">This group is a closer one to call. Both the Coens and Tarantino are personal and Academy favorites, but Pixar’s delicately scripted <i>Up </i>deserves the gold here. Tarantino’s <i>Basterds </i>was fun, but Christoph Waltz was the best thing about it. Surprisingly, this is one year where I don’t think the Coen brothers are the obvious choice.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: left;"><b><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Cinematography</span></b><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Avatar</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Mauro Fiore)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Harry Potter and the Half-Blood Prince</span></u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"> (Bruno Delbonnel)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The Hurt Locker</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Barry Ackroyd)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Inglourious Basterds</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Robert Richardson)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The White Ribbon</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Christian Berger)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">I have yet to see <i>The White Ribbon,</i> but these nominees look disappointingly drab. Sure all the films look good, but <i>Avatar </i>for Cinematography? <i>Harry Potter and the Half-Blood Prince </i>was good, but a few steps behind <i>Prisoner of Azkaban </i>both visually and emotionally. <i>The Hurt Locker </i>is the best choice here, capturing some frighteningly realistic and action-packed visuals while maintaining visual continuity and emotional connection.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: left;"><b><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Music</span></b><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (original score)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Avatar</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (James Horner)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Fantastic Mr. Fox</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Alexandre Desplat)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Up</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Michael Giacchino)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The Hurt Locker</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Marco Beltrami and Buck Sanders)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Sherlock Holmes</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Hans Zimmer)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">With the exception of Horner’s fairly standard adventure score this is another diverse but deserving selection of nominees. <i>Fantastic Mr Fox</i> carried some typical Wes Anderson charm with it, although when considering the soundtrack to an Anderson film I tend to think less about the score than the sumptuous pop selections. Beltrami and Sanders’ score to <i>The Hurt Locker </i>worked perfectly alongside Bob Murawski and Chris Innis’ editing to really get audiences’ adrenaline pumping. <i>Sherlock Holmes </i>managed to both get the job done as an action/adventure blockbuster and create a 21<sup>st</sup> Century updated Victorian atmosphere that, alongside Downey Jr.’s performance felt right at home with the character. But Michael Giacchino’s score for <i>Up </i>is surely the best of the lot, just watch that dialog-free opening montage without the sound and tell me if it has half the impact as it should with Giacchino’s score.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: left;"><b><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Music</span></b><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (original song)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">“<a href="http://www.youtube.com/watch?v=g0DjYb-QWPE&feature=related"><span class="Apple-style-span" style="color:#000000;">Almost There</span></a>”, from <u>The Princess and the Frog</u> by Randy Newman<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">“<a href="http://www.youtube.com/watch?v=DjfFiWutOu0"><span class="Apple-style-span" style="color:#000000;">Down in New Orleans</span></a>”, from <u>The Princess and the Frog</u> by Randy Newman<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">“<a href="http://www.youtube.com/watch?v=Pa1ewRpU-qw"><span class="Apple-style-span" style="color:#000000;">Loin de Paname</span></a>”, from <u>Paris 36</u> by Reinhardt Wagner and Frank Thomas<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">“<a href="http://www.youtube.com/watch?v=3Scm2dlDg-g"><span class="Apple-style-span" style="color:#000000;">Take it All</span></a>”, from <u>Nine</u> by Maury Yeston<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">“<a href="http://www.youtube.com/watch?v=K7Jf2mcSplw"><span class="Apple-style-span" style="color:#000000;">The Weary Kind</span></a>”, from <u>Crazy Heart</u> by Ryan Bingham and T Bone Burnett<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">I haven’t seen <i>Nine </i>or <i>Paris 36 </i>but I have listened to “Take It All” and “Loin de Paname” thanks to the wonder of YouTube. Still, I think “The Weary Kind” deserves this one. The only omission I can think of would be the hilarious “<a href="http://www.youtube.com/watch?v=LBVfVbOsVD0&feature=related"><span class="Apple-style-span" style="color:#000000;">Stu’s Song</span></a>” from <i>The Hangover, </i>which would been a welcome replacement for one of the two adequate songs from <i>The Princess and the Frog.<o:p></o:p></i></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: left;"><b><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Visual effects<o:p></o:p></span></b></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Avatar</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Joe Letteri, Stephen Rosenbaum, Richard Baneham and Andrew R Jones)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">District 9</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Dan Kaufman, Peter Muyzers, Robert Habros and Matt Aitken)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Star Trek</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Roger Guyett, Russell Earl, Paul Kavanagh and Burt Dalton)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Alongside Supporting Actor and Actress I think this is the category that already has a winner. Unless the Academy has some bizarre take on what constitutes visual effects <i>Avatar </i>has this one down.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: left;"><b><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Art direction<o:p></o:p></span></b></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Avatar</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Rick Carter, Robert Stromberg and Kim Sinclair)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The Imaginarium of Doctor Parnassus</span></u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"> (Dave Warren, Anastasia Masaro and Caroline Smith)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Nine</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (John Myhre<span> </span>and Gordon Sim)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Sherlock Holmes</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Sarah Greenwood and Katie Spencer)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The Young Victoria</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Patrice Vermette and Maggie Gray)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">In this category I’ve only seen <i>Avatar </i>and <i>Sherlock Holmes.</i> All the films look exquisite from the stills and trailers I’ve seen. However, I have a feeling <i>Avatar </i>will win IF the Academy considers computer generated sets art direction. <i>Avatar </i>does boast possibly the most immersive and impressively crafted digital worlds ever put on film.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: left;"><b><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Costume design</span></b><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Bright Star</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Janet Patterson)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Coco Before Chanel</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Catherine Leterrier)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The Imaginarium of Doctor Parnassus</span></u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"> (Monique Prudhomme)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Nine</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Colleen Atwood)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The Young Victoria</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Sandy Powell)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Both <i>Bright Star </i>and <i>Coco Before Chanel </i>are about clothes and both has some beautiful costumes, but having only seen those two films I can’t really form a strong opinion on this. I will say <i>Nine </i>has the lavish Broadway costumes that the Academy has shown love for in the past, but <i>The Young Victoria </i>has the lavish period costumes the Academy also seems to adore.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: left;"><b><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Film editing</span></b><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Avatar</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Stephen Rivkin, John Refoua and James Cameron)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">District 9</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Julian Clarke)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The Hurt Locker</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Bob Murawski and Chris Innis)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Inglourious Basterds</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Sally Menke)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Precious</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Joe Klotz)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Out of all these only <i>Inglourious Basterds </i>and <i>The Hurt Locker</i> really deserve and Editing award, <i>The Hurt Locker </i>being my choice, for reason that run alongside both the Best Directing and Music categories. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: left;"><b><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Makeup</span></b><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Il Divo</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Aldo Signoretti and Vittorio Sodano)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The Young Victoria</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Jon Henry Gordon and Jenny Shircore)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Star Trek</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Barney Burman, Mindy Hall and Joel Harlow)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: left;"><b><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Sound editing</span></b><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Avatar</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Christopher Boyes and Gwendolyn Yates Whittle)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The Hurt Locker</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Paul NJ Ottosson)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Inglourious Basterds</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Wylie Stateman)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Star Trek</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Mark Stoeckinger and Alan Rankin)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Up</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Michael Silvers and Tom Myers)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">I don’t know much about sound editing or sound mixing, but if I had to choose among these films I would say it’d be a toss-up between <i>Up</i>’s rich mixture of sounds, ranging from talking dogs and thousands of balloons to old men dueling and old fashioned newsreels and <i>The Hurt Locker</i>’s tight yet encompassing sounds of warfare. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: left;"><b><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Sound mixing<o:p></o:p></span></b></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Avatar</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Christopher Boyes, Gary Summers, Andy Nelson and Tony Johnson)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">The Hurt Locker</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Paul NJ Ottosson and Ray Beckett)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Inglourious Basterds</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Michael Minkler, Tony Lamberti and Mark Ulano)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Star Trek</span></u><span style="font-family:"Trebuchet MS";mso-bidi-Trebuchet MS"; font-family:";font-size:13.0pt;"> (Anna Behlmer, Andy Nelson and Peter J Devlin)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Transformers: Revenge of the Fallen</span></u><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"> (Greg P Russell, Gary Summers and Geoffrey Patterson)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: left;"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">Again, I don’t know much here, but I would say <i>Avatar, Star Trek </i>and <i>Inglourious Basterds </i>sport the most impressive soundtracks.<o:p></o:p></span></p> <!--EndFragment--> </div><div style="text-align: left;"><br /></div><div><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="http://3.bp.blogspot.com/_cxL0QHyOz-Q/S3oZw2i7aTI/AAAAAAAAAKo/wKTMk66hnGE/s320/ANVIL.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5438687827069724978" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 320px; height: 200px; " /></span></div><br /></div><div><!--StartFragment--> <p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;">So, other omissions? Well, <i>Anvil! The Story of Anvil, Ponyo </i>and<i> Coco Before Chanel</i> deserved Best Picture nominations, not to mention the Best Documentary Feature/Best Animated Feature/Best Foreign Film categories. <i>World’s Greatest Dad </i>would have made an awesome dark horse for Best Picture although a Best Original Screenplay would probably be more likely. Alec Baldwin in <i>It’s Complicated </i>got some early buzz for Supporting Actor, and even though he doesn’t compare to Chistoph Waltz it would have added an interesting element to the show come March 7. <i>The Brothers Bloom, Adventureland </i>and <i>Where the Wild Things Are </i>were all deserving of screenplay noms, <i>Watchmen </i>had some amazing visual effects, <i>Public Enemies</i>’ editing was superb, and from what I’ve heard <i>Two Lovers </i>got shut out unjustly.<o:p></o:p></span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-family:'Trebuchet MS', serif;font-size:180%;"><span class="Apple-style-span" style="font-size:17px;"> <!--StartFragment--></span></span></p><span class="Apple-style-span" style="font-family:'Trebuchet MS', serif;font-size:180%;color:#6E3C14;"><p class="MsoNormal"><span style="font-family:"Trebuchet MS"; mso-bidi-Trebuchet MS";font-family:";font-size:13.0pt;"><span class="Apple-style-span" style="color:#000000;">So, what do you think of the 82</span><sup><span class="Apple-style-span" style="color:#000000;">nd</span></sup><span class="Apple-style-span" style="color:#000000;"> annual Oscar nominations? Any films you think got snubbed? Any films you think got some undeserved attention?</span><o:p></o:p></span></p> <!--EndFragment--> </span><p></p> <!--EndFragment--> </div>VaderMcCandlesshttp://www.blogger.com/profile/14300294940644407356noreply@blogger.com2tag:blogger.com,1999:blog-7850292168896483109.post-3677103683043616352010-01-31T20:29:00.000-08:002010-01-31T21:22:58.323-08:00Why James Cameron is Still the King of the World<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_cxL0QHyOz-Q/S2ZlKwk7mCI/AAAAAAAAAKY/dMg811R-JoM/s1600-h/avatar-blog-2010Globes.jpg" style="text-decoration: none;"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 200px; height: 140px;" src="http://3.bp.blogspot.com/_cxL0QHyOz-Q/S2ZlKwk7mCI/AAAAAAAAAKY/dMg811R-JoM/s200/avatar-blog-2010Globes.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5433141235981981730" /></a><div style="text-align: center;"></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span class="Apple-style-span" style="font-size:medium;">Well, Avatar has now passed the $2 billion mark, officially surpassing Titanic’s worldwide gross of around $1.8 billion (according to </span><a href="http://boxofficemojo.com/alltime/world/"><span class="Apple-style-span" style="font-size:medium;">Box Office Mojo</span></a><span class="Apple-style-span" style="font-size:medium;">). This makes Avatar the highest grossing movie of all time, not adjusting for inflation of course. Because if you did adjust the numbers, Gone With the Wind would be the highest grossing film </span><a href="http://boxofficemojo.com/alltime/adjusted.htm"><span class="Apple-style-span" style="font-size:medium;">of all time</span></a><span class="Apple-style-span" style="font-size:medium;"> with a whopping $</span><span style="font-family:Times;"><span class="Apple-style-span" style="font-size:medium;">1,507,252,900.</span></span></div><div><div><p class="MsoNormal"><span style="font-family:Times;"><span class="Apple-style-span" style="font-size:medium;">Still, $2 billionis no small feat. After reports of being the most expensive movie ever made, a teaser trailer that looked – let’s be honest – less than stellar, and not only a shoddy economy, but higher ticket prices to see a 3D/IMAX show, Cameron’s space epic has spent seven weeks at the number one spot in the U.S. and won two Golden Globes (Best Director and Best Motion Picture – Drama respectively) and its chances of doing well at the Oscars are looking better every day.</span></span></p><div style="text-align: center;"><br /></div><div style="text-align: center;"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 172px;" src="http://3.bp.blogspot.com/_cxL0QHyOz-Q/S2ZdUJDaTWI/AAAAAAAAAJY/-O4hhC7NeGk/s400/avatar-treespirits.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5433132601078074722" /></div><p class="MsoNormal"><!--StartFragment--> </p><p class="MsoNormal"><span style="font-family:Times;"><span class="Apple-style-span" style="font-size:medium;">For sure, the film is a marvel; it’s fun, thrilling, spectacular entertainment and an astonishing technical achievement. The plot may be reminiscent of films such as Dances With Wolves (an Academy Award winner for Best Picture I might add) or The Last Samurai, and it may have an obvious political stance and minor character development, but damn if it isn’t fun. With films such as The Terminator, Terminator 2: Judgment Day, Aliens, The Abyss, True Lies and Titanic, Cameron knows how to deliver thrilling spectacles that appeal to, seemingly, everyone on the planet with access to a movie theater.</span></span></p><!--StartFragment--> <p class="MsoNormal"><span style="font-family:Times;"><span class="Apple-style-span" style="font-size:medium;">However, Titanic and Avatar are not the only two films to have crossed the billion-dollar mark in worldwide box office gross. Again, according to Box Office Mojo, The Lord of the Rings - The Return of the King, Pirates of the Caribbean – Dead Man’s Chest and The Dark Knight have all made over a billion dollars, and they were all released within five years of one another. So what makes Cameron so special? Why does he deserve the title of “King of the World”? Well, it’s simple really: he’s done it twice, and you know what? He could do it again. The promise of an Avatar sequel means upping the ante, which these days necessitates a higher gross at the box office as well as grander spectacle on the big screen.</span></span></p><div style="text-align: center;"><br /></div><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 286px;" src="http://2.bp.blogspot.com/_cxL0QHyOz-Q/S2ZbtNdFD0I/AAAAAAAAAJQ/KqB3lCSWOYM/s400/GoneWiththeWind.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5433130832732950338" /> <!--EndFragment--> <p class="MsoNormal"><span style="mso-bidi-mso-bidi-mso-bidi-font-weight:bold;font-family:Times;font-size:13.0pt;"> <o:p></o:p></span></p> <!--EndFragment--> <p></p> <!--EndFragment--> <p></p> <!--EndFragment--> </div><div style="text-align: center;"><!--StartFragment--> <p class="MsoNormal" style="text-align: left;"><span class="Apple-style-span" style="font-size:medium;">Back in Hollywood’s golden age, films like Gone With the Wind or Ben-Hur sold themselves as the biggest, greatest movies ever made and audiences flocked to them to share a global cultural experience. Today the emphasis is mostly on the biggest, but that doesn’t mean some of today’s big films aren’t excellent ones as well.</span></p><p class="MsoNormal" style="text-align: left;"><!--StartFragment--> </p><p class="MsoNormal" style="text-align: left;"><span class="Apple-style-span" style="font-size:medium;">It doesn’t look like Avatar is done setting box office records just yet, and some may still consider it a 3D cross between Fern Gully and Dances With Wolves, but I can’t help but think of it as one of the few global cinematic cultural experiences since Titanic that I’ve experienced for myself. And frankly, after Jake Sully and Neytiri (along with all those other ten-foot tall blue Na’vi) win their battle against the greedy humans to save Pandora, and those big CGI eyes open up, I did give a damn.</span><o:p></o:p></p><img src="http://3.bp.blogspot.com/_cxL0QHyOz-Q/S2ZecdNBMVI/AAAAAAAAAJw/5vPwv8hmktk/s200/titanic_king_of_world_dicapricrow.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5433133843437662546" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 140px; height: 200px; " /> <!--EndFragment--> <p></p><p class="MsoNormal"><span style="mso-bidi-mso-bidi-mso-bidi-font-weight:bold;font-family:Times;font-size:13.0pt;"> <o:p></o:p></span></p> <!--EndFragment--> </div></div>VaderMcCandlesshttp://www.blogger.com/profile/14300294940644407356noreply@blogger.com0tag:blogger.com,1999:blog-7850292168896483109.post-29906974499820580532009-12-20T17:13:00.000-08:002009-12-25T20:41:29.853-08:00Underrated films of the decade<div style="text-align: center;"><span class="Apple-style-span" style="color:#0000EE;"><span class="Apple-style-span" style="text-decoration: underline;"><br /></span></span></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_cxL0QHyOz-Q/Sy7MiqGwuiI/AAAAAAAAAIQ/j6lAs0jQHzE/s1600-h/Snicket1.jpg" style="text-decoration: none;"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 213px;" src="http://3.bp.blogspot.com/_cxL0QHyOz-Q/Sy7MiqGwuiI/AAAAAAAAAIQ/j6lAs0jQHzE/s320/Snicket1.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5417492297563552290" /></a><div><div style="text-align: center;"><span class="Apple-style-span" style="color:#0000EE;"><span class="Apple-style-span" style="font-size:x-small;">The Baudelaire orphans, Klaus, Sunny and Violet from "Lemony Snicket's A Series of Unfortunate Events"</span></span></div><div><span class="Apple-style-span" style="font-family:'lucida grande', tahoma, verdana, arial, sans-serif;color:#333333;"><span class="Apple-style-span" style=" line-height: 14px;font-size:-webkit-xxx-large;"><br /></span></span></div><div><span class="Apple-style-span" style=" color: rgb(51, 51, 51); line-height: 14px; font-family:'lucida grande', tahoma, verdana, arial, sans-serif;font-size:11px;">These are just some films I've seen and enjoyed that I don't think got enough credit or were seen by enough people. Some of these films are hidden greats, some get the job done really well, and some just have that niche that makes them stick out to me. Comment if you've got suggestions because there are films out there that I haven't gotten around to yet.<br /><br /><br />The Baxter - Michael Showalter<br />Overlooked as another lifeless romanic comedy, The Baxter is a lighter 40-Year-Old Virgin with a fresh premise and a delightful supporting performance from Michelle Williams.<br /><br />Conversations With Other Women - Hans Canosa<br />A little-seen minor masterpiece that uses its split-screen technique as metaphor for the difficulty of relationships.<br /><br />Crank - Neveldine/Taylor<br />Looked at as just another loud, dumb action vehicle for Jason Statham, Crank is brimming with outrageous humor and cinematic invention.<br /><br />Down in the Valley - David Jacobson<br />This small Edward Norton film draws inspiration from Taxi Driver, yet is entirely self-assured as its own film. One of Evan Rachel Wood's breakthrough roles.<br /><br />Dr. T & The Women - Robert Altman<br />Widley considered one of Altman's weaker comedies and criticized for being masochistic, Dr. T & the Women is a fascinating look at how one man surrounded by women is driven to the edge. Stands alongside the Coen's A Serious Man as one of the best film versions of the story of Job.</span><div><span class="Apple-style-span" style="font-family:'lucida grande', tahoma, verdana, arial, sans-serif;color:#333333;"><span class="Apple-style-span" style=" line-height: 14px;font-size:-webkit-xxx-large;"><br /></span></span></div><div><span class="Apple-style-span" style=" color: rgb(51, 51, 51); line-height: 14px; font-family:'lucida grande', tahoma, verdana, arial, sans-serif;font-size:11px;"><span class="Apple-style-span" style="color: rgb(0, 0, 0); line-height: normal; font-family:Georgia, serif;font-size:16px;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_cxL0QHyOz-Q/Sy7NwfhpPXI/AAAAAAAAAIg/SeQbMqi6wqY/s1600-h/Dr+T+%26+the+women.jpg"><img src="http://3.bp.blogspot.com/_cxL0QHyOz-Q/Sy7NwfhpPXI/AAAAAAAAAIg/SeQbMqi6wqY/s200/Dr+T+%26+the+women.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5417493634753314162" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 140px; height: 200px; " /></a></span><br />Film Geek - James Westby<br />You can feel the love for film oozing out of Melik Malkasian's performance as Scotty Pelk, the awkward main character of this micro-budget festival film.<br /><br />The Final Cut - Omar Naim<br />Echoes of similar futuristic dystopias don't falter this well-made arty genre picture because it proudly stands alongside some of the best as a worthy companion piece.<br /><br />The Good German - Steven Soderbergh<br />Soderbergh's experiment with old equipment and moviemaking style may be a bit messy and very flawed, but it is fascinating and stunning to look at.<br /><br />The Good Girl - Miguel Arteta<br />Who knows why this minor masterpiece hasn't been seen by more people? Not only does is star Jennifer Aniston, but it's got Jake Gyllenhaal, John C. Reilly, Tim Blake Nelson and Zooey Deschanel as well as one of the most poignant and beautiful moments on film this decade.<br /><br />Heavy Metal in Baghdad - Suroosh Alvi & Eddy Moretti<br />This basically homemade doc is a fascinating and compelling look at the effects of war in the Middle East on regular people.<br /><br />In Good Company - Paul Weitz<br />Brushed aside as another generic mainstream drama, In Good Company doesn't blow you away, but it hits the right notes consistently and ends in a satisfyingly off-kilter way.<br /><br />Lady Vengeance - Chan-wook Park<br />Everyone seems too busy loving Oldboy to pay much attention Chan-wook Park's less flashy final chapter in his Vengeance Trilogy.<br /><br />Lemony Snicket's A Series of Unfortunate Events - Brad Silberling<br />Unfavorable comparisons to Tim Burton were numerous upon its release, but Lemony Snicket's... has some amazing visuals, creative quirk, fun performances and the perfect Thomas Newman score to accompany it. Also perhaps the best end credits sequence this decade.<br /><br />Lucky Number Slevin - Paul McGuigan<br />McGuigan's stylish thriller was criticized as style over substance, but when the style is this good and the story is this fun, does it matter?<br /><br />MirrorMask - Dave McKean<br />How many people saw this masterpiece? In the vein of Labyrinth except more surreal, dark and polished.<br /><br /><span class="Apple-style-span" style="font-size: 11px; ">Mostly Martha - Sandra Nettelbeck<br />This German romance was remade as No Reservations with Catherine Zeta-Jones and Aaron Eckhart. Do yourself a favor and watch the near-perfect original instead.<br /><br />Ocean's Twelve - Steven Soderbergh<br />After the highly successful Ocean's Eleven in 2001, Soderbergh went and made this sequel in a radically different style and piled on the Hollywood in-jokes so heavy that the only people who probably get all the jokes are the people who made the thing. Still, repeat viewings reveal lots of hidden gems such as the phenomenal soundtrack, groovy neo-retro-new-wave style or the totally unnecessarily elaborate intricacies of the plot.<br /><br />Pontypool - Bruce McDonald<br />One of the best zombie movies. Stands alongside Night of the Living Dead and 28 Days Later...</span></span></div><div><span class="Apple-style-span" style="font-family:'lucida grande', tahoma, verdana, arial, sans-serif;color:#333333;"><span class="Apple-style-span" style=" line-height: 14px;font-size:-webkit-xxx-large;"><br /></span></span></div><div><span class="Apple-style-span" style=" color: rgb(51, 51, 51); line-height: 14px; font-family:'lucida grande', tahoma, verdana, arial, sans-serif;font-size:11px;"><span class="Apple-style-span" style="color: rgb(0, 0, 0); line-height: normal; font-family:Georgia, serif;font-size:16px;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_cxL0QHyOz-Q/Sy7OO-Ulc0I/AAAAAAAAAIo/DXjDavA-4oM/s1600-h/pontypooltrailer.jpg"><img src="http://1.bp.blogspot.com/_cxL0QHyOz-Q/Sy7OO-Ulc0I/AAAAAAAAAIo/DXjDavA-4oM/s200/pontypooltrailer.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5417494158416114498" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 136px; height: 200px; " /></a></span><br />Primer - Shane Carruth<br />Primer won the Grad Prize at Sundance when it came out, but was overshadowed by Zach Braff's Garden State.<br /><br />Quid Pro Quo - Carlos Brooks<br />Vera Farmiga proved she can do better than her performance in The Departed in this odd mystery/drama that stars the very talented Nick Stahl.<br /><br />Scoop - Woody Allen<br />After Match Point, almost anything Woody came out with would have paled in comparison, but Scoop is genuinely funny and cute.<br /><br />Sex and Death 101 - Daniel Waters<br />Bizarre and messy, Sex and Death 101 has some very interesting stuff underneath what may look like a lame sex comedy.<br /><br />Shopgirl - Anand Tucker<br />Aside from one embarrassing scene, this Steve Martin-penned drama hits the perfect note.<br /><br />S1m0ne - Andrew Niccol<br />It settles for some issues we've seen before, and it isn't without some messy flaws, but S1m0ne is a thoroughly funny and telling critique of our culture's fascination with celebrity.<br /><br />The Skeleton Key - Iain Softley<br />An absolutely first-rate thriller that employs classic Hollywood style to keep you riveted even when you know it's just a movie.<br /><br />Sky Captain and the World of Tomorrow - Kerry Conran<br />Sky Captain pre-dates Sin City in my mind at least. Here green-screen immersion is used to bring director Conran's imagination to the screen unfettered.<br /><br />Smiley Face - Gregg Araki<br />Stoner comedies have never been this arty (in that indie way). Or maybe indie films have never been this purposefully stupid? Either way Anna Faris shines and Araki brings an odd sense of meaning to a film about getting high and being stupid all day.<br /><br />The Station Agent - Thomas McCarthy<br />A breakout mini-hit on release and one of the films that brought Peter Dinklage into our (ever so grateful) lives.<br /><br />Teeth - Mitchell Lichtenstein<br />People hear "vagina dentate" or "it's about a girl with teeth in her vagina" and automatically turn around. But they're missing one of the most entertaining and offbeat cult films about female revenge this decade.<br /><br />Terminator 3: Rise of the Machines<br />T3 doesn't have the series' best villain, and people complain that it negates T2's message that the future is unwritten. However, the threequel boats some fine action set pieces as well as still-impressive effects. The inspired casting of Nick Stahl and Claire Danes pays off and who doesn't love Schwarzenegger in his signature role? (I also personally kind of prefer the whole "you can't change fate, only postpone it" aspect)<br /><br />Trick 'r Treat - Michael Dougherty<br />Delayed for no logical reason for three years, X2 screenwriter Michael Dougherty's directorial debut got a dvd release in late 2009. Those who have seen it have experienced one of the most entertaining horror anthologies since Romero's Creepshow.<br /><br />Wet Hot American Summer - David Wain<br />The State got together and made a movie. One of the funniest movies ever.<br /><br />Willard - Glen Morgan<br />This remake of the 1971 original (which featured Michael Jackson's "Ben") is an intentionally campy, sometimes quite frightening horror film which features some of Crispen Glover's best work since Back to the Future.<br /><br />World's Greatest Dad - Bobcat Goldthwait<br />A limited release and some awkward subject matter may have frightened or disgusted would-be audiences away from this hilarious and refreshing dark comedy.<br /><br />Young People Fucking - Martin Gero<br />Don't let the title scare you away! This is a surprisingly hilarious and even endearing little comedy that is a bit dirty, but not half as explicit as you would think.</span><div><span class="Apple-style-span" style="font-family:'lucida grande', tahoma, verdana, arial, sans-serif;color:#333333;"><span class="Apple-style-span" style=" line-height: 14px;font-size:-webkit-xxx-large;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:'lucida grande', tahoma, verdana, arial, sans-serif;color:#333333;"><span class="Apple-style-span" style="line-height: 14px;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:'lucida grande', tahoma, verdana, arial, sans-serif;color:#333333;"><span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: rgb(0, 0, 0); line-height: normal; font-family:Georgia, serif;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_cxL0QHyOz-Q/Sy7OvUNl97I/AAAAAAAAAIw/8E6vCw5yc4E/s1600-h/mostlymarthapic2.jpg"><img src="http://3.bp.blogspot.com/_cxL0QHyOz-Q/Sy7OvUNl97I/AAAAAAAAAIw/8E6vCw5yc4E/s320/mostlymarthapic2.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5417494714048182194" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 320px; height: 187px; " /></a></span></span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="font-size:x-small;">Mario, Lea, Lina and Martha from "Mostly Martha"</span></div></div></div></div>VaderMcCandlesshttp://www.blogger.com/profile/14300294940644407356noreply@blogger.com0tag:blogger.com,1999:blog-7850292168896483109.post-86799514343158014032009-08-17T18:05:00.000-07:002009-08-17T18:09:02.250-07:00Be Sensible!<!--StartFragment--> <p class="MsoNormal">Look, we all hate it when people use their cell phones, talk, bring small children, eat loudly and bring annoying children (not all children mind you, just the annoying ones that won’t stop crying, moving or talking) at the movie theater, but do we really need another article about how much we hate these things and why? Why not try to do something about this stuff? I for one have seen a lot of excellent ads by cell phone companies before a film starts that remind people to turn off their phones.<span style="mso-spacerun: yes"> </span>Check out this cool preview that screened before a showing of Star Wars last year:</p><p class="MsoNormal"><!--StartFragment--> </p><p class="MsoNormal"><span style="font-family:Arial;mso-bidi-font-family:Arial;font-size:10.0pt;"><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/d9K2ONYCMM8&hl=en&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/d9K2ONYCMM8&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><o:p></o:p></span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-family:Arial, fantasy;font-size:100%;"><span class="Apple-style-span" style="font-size:13px;"><br /></span></span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-family:Arial, -webkit-fantasy;font-size:100%;"><span class="Apple-style-span" style="font-size:13px;"> <!--StartFragment--> </span></span></p><span class="Apple-style-span" style="font-family:Arial, -webkit-fantasy;font-size:100%;"><p class="MsoNormal"><span style="font-family:Arial;mso-bidi-font-family:Arial;font-size:10.0pt;">Having reminders like this only adds to the movie-going experience for me. They bring a sense of importance to a relatively inexpensive activity.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;mso-bidi-font-family:Arial;font-size:10.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;mso-bidi-font-family:Arial;font-size:10.0pt;">Now look, I have no idea how to stop some idiot parents from bringing their 8 year-old to Orphan or some other grossly inappropriate film. The most I can think of to do for this is to ask the MPAA to quit sucking so much and start making sense with their ratings. Give us informative blurbs about a film’s content, and don’t give certain films ratings based on some prejudice (studio blockbusters getting PG-13 after PG-13, homosexuality and male nudity getting R after R, etc.)<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;mso-bidi-font-family:Arial;font-size:10.0pt;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;mso-bidi-font-family:Arial;font-size:10.0pt;">Now, just for fun, my favorite cell phone ad:<o:p></o:p></span></p><p class="MsoNormal"><br /></p><p class="MsoNormal"><!--StartFragment--> </p><p class="MsoNormal"><span style="font-family:Arial;mso-bidi-font-family:Arial;font-size:10.0pt;"><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/jm4ZHKMZngs&hl=en&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/jm4ZHKMZngs&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></span></p> <!--EndFragment--> <p></p> <!--EndFragment--> </span><p></p> <!--EndFragment--> <p></p><p class="MsoNormal"> </p> <!--EndFragment-->VaderMcCandlesshttp://www.blogger.com/profile/14300294940644407356noreply@blogger.com2tag:blogger.com,1999:blog-7850292168896483109.post-20797950982444958052009-06-29T20:06:00.000-07:002009-06-29T20:49:22.747-07:00Double Features<div style="text-align: center;"><span class="Apple-style-span" style="font-size: medium;">I’ll admit I’ve spent an entire day watching all six Star Wars films back-to-back. I’ve also seen all three extended versions of The Lord of the Rings in a row, and I’ll probably sit down one day to watch all the Harry Potter films in one go. Watching every film in a series is one thing, but what about films that share something, themes, motifs, directors, actors, styles, etc. that would work well as double (or triple, or quadruple or whatever) features?</span></div> <!--EndFragment--> <span class="Apple-style-span" style=" font-style: italic; "><div><span class="Apple-style-span" style="font-size: medium;"><br /></span></div><div><span class="Apple-style-span" style="font-size: medium;"><br /></span></div><span class="Apple-style-span" style="font-size: medium;"><br /></span></span><div><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 146px; height: 200px;" src="http://4.bp.blogspot.com/_cxL0QHyOz-Q/SkmJgkA6-rI/AAAAAAAAAIA/hI92HXqTreA/s200/high_fidelity.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5352960824622906034" /></div><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 132px; height: 200px;" src="http://3.bp.blogspot.com/_cxL0QHyOz-Q/SkmJSri9EQI/AAAAAAAAAHw/7ZnRVskRCXQ/s200/say_anything.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5352960586126528770" /><div><span class="Apple-style-span" style=" font-style: italic; "><span class="Apple-style-span" style="font-size: medium;">Sa</span><span class="Apple-style-span" style="font-style: normal; "><i><span class="Apple-style-span" style="font-size: medium;">y Anything…</span></i><span class="Apple-style-span" style="font-size: medium;"> (1989)/</span><i><span class="Apple-style-span" style="font-size: medium;">High Fidelity</span></i><span class="Apple-style-span" style="font-size: medium;"> (2000)/</span><i><span class="Apple-style-span" style="font-size: medium;">Grosse Pointe Blank</span></i><span class="Apple-style-span" style="font-size: medium;"> (1997)</span></span></span></div><div><span class="Apple-style-span" style="font-size: medium;"><br /></span></div><div><span class="Apple-style-span" style="font-size: medium;">Both </span><i><span class="Apple-style-span" style="font-size: medium;">S</span><span class="Apple-style-span" style="font-style: normal; "><i><span class="Apple-style-span" style="font-size: medium;">ay Anything…</span></i><span class="Apple-style-span" style="font-size: medium;"> and </span><i><span class="Apple-style-span" style="font-size: medium;">High Fidelity</span></i><span class="Apple-style-span" style="font-size: medium;"> star John Cusack, but </span><i><span class="Apple-style-span" style="font-size: medium;">High Fidelity</span></i><span class="Apple-style-span" style="font-size: medium;"> plays on Cusack’s well-known 80’s movie history in a clever way through flashbacks that brings up memories from not only </span><i><span class="Apple-style-span" style="font-size: medium;">Say Anything…</span></i><span class="Apple-style-span" style="font-size: medium;"> but also </span><i><span class="Apple-style-span" style="font-size: medium;">Better Off Dead</span></i><span class="Apple-style-span" style="font-size: medium;"> and </span><i><span class="Apple-style-span" style="font-size: medium;">The Sure Thing</span></i><span class="Apple-style-span" style="font-size: medium;">. </span><i><span class="Apple-style-span" style="font-size: medium;">Grosse Pointe Blank</span></i><span class="Apple-style-span" style="font-size: medium;"> (also starring Cusack) is darker than </span><i><span class="Apple-style-span" style="font-size: medium;">High Fidelity</span></i><span class="Apple-style-span" style="font-size: medium;">, but has some great 80’s references as well, not the least of which can be found on the stellar soundtrack, which contains tracks from The Clash, a-Ha, Queen & Bowie, The Specials, and Echo and the Bunnymen among others.</span></span></i></div><div><span class="Apple-style-span" style="font-size: medium;"><br /></span></div><div><span class="Apple-style-span" style="font-size: medium;"><br /></span></div><div><span class="Apple-style-span" style="font-size:6;"><p class="MsoNormal"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 130px; height: 200px;" src="http://3.bp.blogspot.com/_cxL0QHyOz-Q/SkmInhbB5nI/AAAAAAAAAHg/pCE25Qq4v18/s200/death_wish.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5352959844674561650" /></p><p class="MsoNormal"><!--StartFragment--> </p><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 135px; height: 200px;" src="http://4.bp.blogspot.com/_cxL0QHyOz-Q/SkmIwag7bqI/AAAAAAAAAHo/u7-eTCYUlNM/s200/brave_one_poster_jodie_foster.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5352959997439078050" /><p class="MsoNormal"><span><i><span class="Apple-style-span" style="font-size: medium;">Death Wish</span></i><span class="Apple-style-span" style="font-size: medium;"> (1974)/</span><i><span class="Apple-style-span" style="font-size: medium;">The Brave One</span></i><span class="Apple-style-span" style="font-size: medium;"> (2007)</span></span></p><p class="MsoNormal"><span><span class="Apple-style-span" style="font-size: medium;">The ’74 Charles Bronson vigilante classic </span><i><span class="Apple-style-span" style="font-size: medium;">Death Wish</span></i><span class="Apple-style-span" style="font-size: medium;"> is basically about a man taking out street thugs for killing his wife. Now, you could watch the 2007 remake/re-imagining </span><i><span class="Apple-style-span" style="font-size: medium;">Death Sentence</span></i><span class="Apple-style-span" style="font-size: medium;"> with Kevin Bacon, or you could check out Neil Jordan’s excellent </span><i><span class="Apple-style-span" style="font-size: medium;">The Brave One</span></i><span class="Apple-style-span" style="font-size: medium;">, starring Jodie Foster and also from 2007. While </span><i><span class="Apple-style-span" style="font-size: medium;">Death Wish </span></i><span class="Apple-style-span" style="font-size: medium;">and </span><i><span class="Apple-style-span" style="font-size: medium;">The Brave One</span></i><span class="Apple-style-span" style="font-size: medium;"> share the same basic premise: the main character’s significant other is murdered so they arm themselves and take the law into their own hands, their tones, styles, and messages differ in interesting and compelling ways.</span></span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-size: medium;"><br /></span></p><p class="MsoNormal"><i><span class="Apple-style-span" style="font-size: medium;">Taxi Driver</span></i><span class="Apple-style-span" style="font-size: medium;"> (1976)/</span><i><span class="Apple-style-span" style="font-size: medium;">Down in the Valley </span></i><span class="Apple-style-span" style="font-size: medium;">(2005)</span></p><p class="MsoNormal"><!--StartFragment--> </p><p class="MsoNormal"><span><span class="Apple-style-span" style="font-size: medium;">Scorsese’s </span><i><span class="Apple-style-span" style="font-size: medium;">Taxi Driver</span></i><span class="Apple-style-span" style="font-size: medium;"> is a classic. A masterpiece about that perfectly capture’s its main character’s, Travis Bickle (Robert De Niro), anger and alienation. </span><i><span class="Apple-style-span" style="font-size: medium;">Down in the Valley</span></i><span class="Apple-style-span" style="font-size: medium;">, made roughly 30 years after </span><i><span class="Apple-style-span" style="font-size: medium;">Taxi Driver</span></i><span class="Apple-style-span" style="font-size: medium;">, stars Edward Norton as Harlan, a old-style cowboy who falls into a relationship with Evan Rachael Wood’s Tobe. Harlan and Travis share more than a few character traits, and there is an homage of sorts to De Niro’s famous “You talkin’ to me?” scene. Also check out Paul Schrader’s (Taxi Driver’s screenwriter) “Man in a Room” or “Night Worker” films: </span><i><span class="Apple-style-span" style="font-size: medium;">American Gigolo, Light Sleeper </span></i><span class="Apple-style-span" style="font-size: medium;">and </span><i><span class="Apple-style-span" style="font-size: medium;">The Walk</span><span class="Apple-style-span" style="font-style: normal; "><i><span class="Apple-style-span" style="font-size: medium;">er</span></i><span class="Apple-style-span" style="font-size: medium;">, three films he feels follow the same main character through different stages of his life.</span></span></i></span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-size: medium;"><br /></span></p><p class="MsoNormal"><i><span class="Apple-style-span" style="font-size: medium;">Lady Snowblood</span></i><span class="Apple-style-span" style="font-size: medium;"> (1973)/</span><i><span class="Apple-style-span" style="font-size: medium;">Kill Bill Vol. 1</span></i><span class="Apple-style-span" style="font-size: medium;"> (2004)</span></p><p class="MsoNormal"><!--StartFragment--> </p><p class="MsoNormal"><span><span class="Apple-style-span" style="font-size: medium;">Want to see one of the (many) films Quentin Tarantino drew inspiration from for his </span><i><span class="Apple-style-span" style="font-size: medium;">Kill Bill </span></i><span class="Apple-style-span" style="font-size: medium;">films? Go out and watch </span><i><span class="Apple-style-span" style="font-size: medium;">Lady Snowblood</span></i><span class="Apple-style-span" style="font-size: medium;"> right now. It’s filled with style, action and story, not to mention the beautiful and charismatic Meiko Kaji in the lead role. For more </span><i><span class="Apple-style-span" style="font-size: medium;">Kill Bill </span></i><span class="Apple-style-span" style="font-size: medium;">inspiration, check out the </span><i><span class="Apple-style-span" style="font-size: medium;">Female Prisoner #701: Scorpion</span></i><span class="Apple-style-span" style="font-size: medium;"> series (also starring Kaji), </span><i><span class="Apple-style-span" style="font-size: medium;">Sex and Fury</span></i><span class="Apple-style-span" style="font-size: medium;">, </span><i><span class="Apple-style-span" style="font-size: medium;">Thriller: A Cruel Picture</span></i><span class="Apple-style-span" style="font-size: medium;">, </span><i><span class="Apple-style-span" style="font-size: medium;">Game of Death</span></i><span class="Apple-style-span" style="font-size: medium;"> and numerous others.</span><span class="Apple-style-span" style="font-size: medium;"><o:p></o:p></span></span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-size: medium;"><br /></span></p><p class="MsoNormal"><i><span class="Apple-style-span" style="font-size: medium;">Yojimbo</span></i><span class="Apple-style-span" style="font-size: medium;"> (1961)/</span><i><span class="Apple-style-span" style="font-size: medium;">A Fistful of Dollars</span></i><span class="Apple-style-span" style="font-size: medium;"> (1964)/</span><i><span class="Apple-style-span" style="font-size: medium;">Lucky Number Slevin</span></i><span class="Apple-style-span" style="font-size: medium;"> (2006)</span></p><p class="MsoNormal"><!--StartFragment--> </p><p class="MsoNormal"><span><span class="Apple-style-span" style="font-size: medium;">Akira Kurosawa’s 1961 classic </span><i><span class="Apple-style-span" style="font-size: medium;">Yojimbo</span></i><span class="Apple-style-span" style="font-size: medium;"> is an example of the idea that there are only a certain number of plots around and every story ever told is basically a different variation on one of those stories.</span><span><span class="Apple-style-span" style="font-size: medium;"> </span></span><i><span class="Apple-style-span" style="font-size: medium;">Yojimbo</span></i><span class="Apple-style-span" style="font-size: medium;">’s basic plot (outsider infiltrates two opposing groups and plays them against eachother for his/her own benefit) has been done numerous times. Sergio Leone remade it in 1964 as a </span><i><span class="Apple-style-span" style="font-size: medium;">Fistfull of Dollars</span></i><span class="Apple-style-span" style="font-size: medium;">, two years later Sergio Corbucci made </span><i><span class="Apple-style-span" style="font-size: medium;">Django</span></i><span class="Apple-style-span" style="font-size: medium;">, Sonny Chiba starred in a Street Fighter movie (</span><i><span class="Apple-style-span" style="font-size: medium;">Karate Warriors</span></i><span class="Apple-style-span" style="font-size: medium;">) with a similar plot, Sean Penn starred in the vastly underrated mob drama </span><i><span class="Apple-style-span" style="font-size: medium;">State of Grace</span></i><span class="Apple-style-span" style="font-size: medium;">, Bruce Willis starred in 1996’s dull </span><i><span class="Apple-style-span" style="font-size: medium;">Last Man Standing</span></i><span class="Apple-style-span" style="font-size: medium;">, although he made up for it with the ultra-stylish </span><i><span class="Apple-style-span" style="font-size: medium;">Lucky Number Slevin</span></i><span class="Apple-style-span" style="font-size: medium;"> in 2006, and in 2007 Takashi Miike made </span><i><span class="Apple-style-span" style="font-size: medium;">Sukiyaki Western Django.</span></i></span></p><p class="MsoNormal"><i><span class="Apple-style-span" style="font-size: medium;"><br /></span></i></p><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 135px; height: 200px;" src="http://2.bp.blogspot.com/_cxL0QHyOz-Q/SkmIGCvaqYI/AAAAAAAAAHQ/ndlPuVsgs6M/s200/prestige-poster.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5352959269502888322" /><p class="MsoNormal"><i><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 135px; height: 200px;" src="http://1.bp.blogspot.com/_cxL0QHyOz-Q/SkmHtw6K3OI/AAAAAAAAAHI/26YrqHtlTxY/s200/the_illusionist_poster.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5352958852399291618" /></i></p><p class="MsoNormal"><i><span class="Apple-style-span" style="font-size: medium;"> </span><!--StartFragment--></i></p><i><p class="MsoNormal"><span class="Apple-style-span" style="font-size: medium;">The Illusionist </span><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-size: medium;">(2006)</span></span><span class="Apple-style-span" style="font-size: medium;">/The Prestige </span><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-size: medium;">(2006)</span></span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-size: medium;"> </span><!--StartFragment--></span></p><p class="MsoNormal"><span><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-size: medium;">These two mystery/thrillers both came out in 2006 and were both about magicians. In </span><i><span class="Apple-style-span" style="font-size: medium;">The Illusionist</span></i><span class="Apple-style-span" style="font-size: medium;">, Edward Norton plays Eisenheim, a magician who uses his skills to woo Jessica Biel’s Sophie in late 1800’s Vienna. In </span><i><span class="Apple-style-span" style="font-size: medium;">The Prestige</span></i><span class="Apple-style-span" style="font-size: medium;">, Christian Bale and High Jackman play magicians (also in the late 1800’s) battling each other for the ultimate trick.</span></span><span><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-size: medium;"> </span></span></span><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-size: medium;">Each film pays stunning attention to period detail, each has some fine performances, and each has an interesting and rewarding mystery.</span></span><span class="Apple-style-span" style="font-size: medium;"><o:p></o:p></span></span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-style: normal; "><span class="Apple-style-span" style="font-size: medium;"><br /></span></span></p><p class="MsoNormal"><i><span class="Apple-style-span" style="font-size: medium;">The Kid Stays in the Picture</span></i><span class="Apple-style-span" style="font-size: medium;"> </span><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-size: medium;">(2002)/almost any movie Bob Evans worked on</span></span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-size: medium;">The Kid Stays in the Picture is one of the few documentaries I own that I can watch over and over. Chances are you’ve seen some of the movies Robert Evans talks about in the film, but you might enjoy watching the doc along with </span><i><span class="Apple-style-span" style="font-size: medium;">Man of a Thousand Faces, The Sun Also Rises, Rosemary’s Baby, Chinatown, The Godfather, Love Story, The Cotton Club</span></i><span class="Apple-style-span" style="font-size: medium;"> or one of the other films Evans worked on at Paramount and discusses.</span></span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-style: normal; "><span class="Apple-style-span" style="font-size: medium;"><br /></span></span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-size: medium; font-style: normal;"> <!--StartFragment--> </span></p><p class="MsoNormal">So, there’s my list of some films I could watch back-to-back. How about your’s? I know I left off Kurosawa’s Rashomon and its many incarnations<span style="font-size:16.0pt;mso-bidi-font-size:12.0pt">.<o:p></o:p></span></p> <!--EndFragment--> <p></p> <!--EndFragment--> <p></p> <!--EndFragment--> <p></p> <!--EndFragment--> <p></p> <!--EndFragment--> </i><p></p> <!--EndFragment--> <p></p> <!--EndFragment--> <p></p> <!--EndFragment--> <p></p> <!--EndFragment--> <p></p> <!--EndFragment--> <p></p> <!--EndFragment--> <p></p> <!--EndFragment--> <p></p> <!--EndFragment--> <p></p> <!--EndFragment--> <p></p> <!--EndFragment--> </span><p></p> <!--EndFragment--> </div>VaderMcCandlesshttp://www.blogger.com/profile/14300294940644407356noreply@blogger.com0tag:blogger.com,1999:blog-7850292168896483109.post-327286490995620072009-02-10T18:21:00.000-08:002009-02-11T04:12:05.458-08:00Quotes from movies I use all the time<a href="http://3.bp.blogspot.com/_cxL0QHyOz-Q/SZJDtfgxubI/AAAAAAAAAGA/-ONnbuozHTc/s1600-h/anchorman.bmp"><img id="BLOGGER_PHOTO_ID_5301374160200645042" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 275px; TEXT-ALIGN: center" alt="" src="http://3.bp.blogspot.com/_cxL0QHyOz-Q/SZJDtfgxubI/AAAAAAAAAGA/-ONnbuozHTc/s400/anchorman.bmp" border="0" /></a><br />I watch a lot of movies. I probably watch too many movies. I’ve reached a point where I have trouble falling asleep unless I’ve watched something.<br />With all that film-watching comes a lot of quoting, many of which can be embarrassing when you quote something like The Graduate around kids who are still stuck on shouting “I am McLovin!”<br />So, in no particular order, I thought it might be cool to list some of the most-quoted lines I say in my everyday life (beware: lots of teen comedies).<br /><br /><div><a href="http://2.bp.blogspot.com/_cxL0QHyOz-Q/SZJDjaYYQrI/AAAAAAAAAF4/-xc4PFS7AyU/s1600-h/movies_anchorman.jpg"><img id="BLOGGER_PHOTO_ID_5301373987024552626" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 200px; CURSOR: hand; HEIGHT: 112px" alt="" src="http://2.bp.blogspot.com/_cxL0QHyOz-Q/SZJDjaYYQrI/AAAAAAAAAF4/-xc4PFS7AyU/s200/movies_anchorman.jpg" border="0" /></a><br /><em>Anchorman: The Legend of Ron Burgundy (2004)</em><br />Is there any better movie so far this decade to quote from? Nearly every teenager has seen it, as well as some of the more suave adults, and nearly every line is quotable. There’s even an entire alternate movie from all the leftover footage. Some personal favorite lines I have actually quoted:<br />“I’m in a glass case of emotion!”<br />“I'm gonna punch you in the ovary, that's what I'm gonna do. A straight shot. Right to the baby maker.”<br />“I love lamp.”<br />“60% of the time it works, every time.”<br />“Great Odin's raven!”<br />“By the beard of Zeus!” (that one might be an outtake)<br />“It’s jazz baby!”<br />“You are a smelly pirate hooker.”<br />“Why don't you go back to your home on Whore Island?”<br />“Discovered by the Germans in 1904, they named it San Diego, which of course in German means a whale's vagina.”<br /><br /><em>The Hudsucker Proxy (1994)</em><br />Sometimes (not often) an opportunity will present itself and I can let loose with the classic Coen brother line: “you know, for kids!” </div><div><div><img id="BLOGGER_PHOTO_ID_5301373515365950338" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 200px; CURSOR: hand; HEIGHT: 131px" alt="" src="http://1.bp.blogspot.com/_cxL0QHyOz-Q/SZJDH9UNI4I/AAAAAAAAAFw/VaN07ikaxpk/s200/Jenny.jpg" border="0" /><br /><em>Forrest Gump (1994)</em><br />Everyone in the USA quotes Forrest Gump, even if they’ve never seen the film. “My momma always said, ‘Life was like a box of chocolates. You never know what you're gonna get.’" is classic, but I prefer to shout “JENNY!” in that southern accent. To bad it makes me look like an idiot.</div><div><br /><em>Wet Hot American Summer (2001)</em><br />This film introduced me to The State, Stella, Wainy Days, and that entire group of actors/comedians. For that I am eternally grateful. What better way to show my appreciation than to quote David Hyde Pierce whenever something doesn’t go my way by shouting (or, more often, whispering to myself) “Fuck my dick!”<br /><br /><em>No Country for Old Men (2007)</em><br />The Coen brothers have been making great American films since Blood Simple in 1984. Out of all the great dialog in No Country the one line I find myself quoting while chuckling to myself is “Friend-o.”</div><div><div><img id="BLOGGER_PHOTO_ID_5301372929324408370" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 200px; CURSOR: hand; HEIGHT: 129px" alt="" src="http://4.bp.blogspot.com/_cxL0QHyOz-Q/SZJCl2JA3jI/AAAAAAAAAFo/7mzKDMPi9hE/s200/Four+Weddings.jpg" border="0" /><br /><em>Four Weddings and a Funeral (1994)</em><br />I love all of the Best Picture nominees from 1994, and this one was the biggest surprise. While I wish I could remember the more charming dialog on the spot at a party or social occasion, I usually just mumble “Fuck-a-doodle-do.”</div><div><br /><em>Help! (1965)</em><br />The Beatles’ A Hard Day’s Night is one of, if not the best, rock films ever. While Help! Isn’t great in the classic, timeless way their first film is, it knows it’s a silly musical adventure and doesn’t try to be anything more. My siblings and I laugh with each other to lines such as:<br />“Never you mind!”<br />“I am a dead-eye shot, shooting.”<br />“How do you know you're not just as filthy and sent by him to nick the ring by being filthy when you have lulled us with your filthy eastern ways?”<br />“There's more here than meets the eye!” (followed by much “Huh ho“-ing) </div><div><div><img id="BLOGGER_PHOTO_ID_5301372664947296802" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 200px; CURSOR: hand; HEIGHT: 146px" alt="" src="http://4.bp.blogspot.com/_cxL0QHyOz-Q/SZJCWdQmSiI/AAAAAAAAAFg/AAqa27Ufr6o/s200/HanSolo.jpg" border="0" /><br /><em>Star Wars<br /></em>I love the Star Wars saga (it’s so great calling it a mere “series” cheapens it). The classic quotes never get old (“I am your father!” “May the Force be with you” “I have a bad feeling about this”) but I find myself quoting Han Solo more than ever, not because I think he gets the best lines necessarily, but, like most of these other quotes, they’re the ones I remember on the spot:<br />“Hokey religions and ancient weapons are no match for a good blaster at your side, kid.”<br />“I know.” (to be said after someone tells you they love you)<br />“Laugh it up, fuzz ball.”</div><div><a href="http://2.bp.blogspot.com/_cxL0QHyOz-Q/SZJEQdNoqJI/AAAAAAAAAGI/4tAyP_QzRNQ/s1600-h/AmericanPie.jpg"><img id="BLOGGER_PHOTO_ID_5301374760878909586" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 200px; CURSOR: hand; HEIGHT: 148px" alt="" src="http://2.bp.blogspot.com/_cxL0QHyOz-Q/SZJEQdNoqJI/AAAAAAAAAGI/4tAyP_QzRNQ/s200/AmericanPie.jpg" border="0" /></a><br /><em>American Pie (1999)</em><br />I don’t care if it's a stupid teen sex comedy. Everyone quotes Alyson Hannigan’s line “This one time, at band camp, I stuck a flute in my pussy.” although they usually just leave it as “This one time, at band camp…”</div><div><br /><em>Fast Times at Ridgemont High (1982)</em><br />“You are a wuss: part wimp, and part pussy.”</div><div></div><div><em></em></div><div><em></em> </div><div><em>Office Space (1999)</em></div><div>I never, ever, have a chance to use this, but I love to say it:</div><div>"You know, the Nazis had pieces of flair that they made the jews wear."</div><div><br /><em>Pulp Fiction (1994)</em><br />Yet another 1994 film with loads of great dialog, but I love, Love, LOVE the line “Anytime of day is a good time for pie” which first popped up in Tarantino’s script for True Romance. </div><div><div><a href="http://1.bp.blogspot.com/_cxL0QHyOz-Q/SZJBig2CPmI/AAAAAAAAAFQ/3FzmSdjUxxw/s1600-h/StrangeloveRipper1.jpg"><img id="BLOGGER_PHOTO_ID_5301371772556426850" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 200px; CURSOR: hand; HEIGHT: 133px" alt="" src="http://1.bp.blogspot.com/_cxL0QHyOz-Q/SZJBig2CPmI/AAAAAAAAAFQ/3FzmSdjUxxw/s200/StrangeloveRipper1.jpg" border="0" /></a><br /><em>Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)</em><br />Everyone, including me, loves to quote Sellers’ line “Gentlemen, you can't fight in here! This is the War Room.” but I usually awkwardly mutter something about fluoridation, our precious bodily fluids, and my essence in conversation as well.</div><div><br /><em>Clerks (1994)/Indiana Jones and the Temple of Doom (1984</em>)<br />Double whammy! This little line: “Hey, Dr. Jones, no time for love” was paraphrased in Clerks as “No time for love Dr. Jones” so whenever I say it I say it in Randal’s voice but think of Short Round (don’t listen to anyone else; Short Round is the best part of that film).</div><div><br /><em>Juno (2007)</em><br />“Hey, yeah, uh, I'm just calling to procure a hasty abortion.” </div><div><img id="BLOGGER_PHOTO_ID_5301371393425005746" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 200px; CURSOR: hand; HEIGHT: 84px" alt="" src="http://1.bp.blogspot.com/_cxL0QHyOz-Q/SZJBMceD3LI/AAAAAAAAAFI/jsfmbwZSNJY/s200/Gandalf.jpg" border="0" /><br /><em>Lord of the Rings: The Fellowship of the Ring (2001)</em><br />Is it bad that I melodramatically yell “Run you fools!” every now and then?<br /><br /><em>Rushmore (1998)</em><br />Most of the great lines in Rushmore get lost in my consciousness only to resurface as something I vaguely remember but can’t quite place. I’ll occasionally say “With friends like you, who needs friends?” but the quote I remember the most I can almost never use:<br /><strong>Max Fischer</strong>: “I like your nurse's uniform, guy.”</div><div><strong>Dr. Peter Flynn</strong>: “These are O.R. scrubs.”</div><div><strong>Max Fischer</strong>: “Oh, are they?” </div><div>(If my Film Study teacher from Junior year reads that she might get a kick out of it. I know she loves that bit.) </div><div><br /><em>The Graduate (1968)</em><br />Yeah, that’s right, I quote The Graduate. From time to time. Rarely. I have the lines there, it’s just that no one EVER gets that you quoting The Graduate unless you say “Mrs. Robinson, you're trying to seduce me.” Two of the lines that tend to pop up in my vernacular are “Plastics” and “Wood or wire? They have both.” </div><div><a href="http://4.bp.blogspot.com/_cxL0QHyOz-Q/SZJAY8Dg1NI/AAAAAAAAAE4/fQNGhYvjCjs/s1600-h/Superbad.jpg"><img id="BLOGGER_PHOTO_ID_5301370508550395090" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 200px; CURSOR: hand; HEIGHT: 100px" alt="" src="http://4.bp.blogspot.com/_cxL0QHyOz-Q/SZJAY8Dg1NI/AAAAAAAAAE4/fQNGhYvjCjs/s200/Superbad.jpg" border="0" /></a><br /><em>Superbad (2007)</em><br />Okay, I do quote Superbad a lot, more than The Graduate I’ll admit. Like Anchorman, there are just soo many great lines. Although I think the whole “I am McLovin!” thing is a lame quote kids say because they think everyone else finds it funny.<br />“Fuck me, right?”<br />“That's like slapping God across the face for giving you a beautiful gift.”<br />“We shouldn't be cock-blocking McLovin, we should be guiding his cock.”<br />“I'm sorry that I blocked your cock…”<br />“The funny thing about my back is that it's located on my cock.”<br />“She wants my dick in and around her mouth!”<br />“You know how many foods are shaped like dicks? The best kinds.”<br />“Prepare to be fucked by the long dick of the law!”<br />“You hit Becca's foot with your dick?”<br />“Oh no, that IS pimp!”<br /></div><div><a href="http://2.bp.blogspot.com/_cxL0QHyOz-Q/SZJAJx2yCVI/AAAAAAAAAEw/KKb9vLLkDbE/s1600-h/mclovin.jpg"><img id="BLOGGER_PHOTO_ID_5301370248114604370" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 300px; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_cxL0QHyOz-Q/SZJAJx2yCVI/AAAAAAAAAEw/KKb9vLLkDbE/s400/mclovin.jpg" border="0" /></a> </div><div>I know there are other lines and words I quote from <em>Finding Nemo, Grosse Pointe Blank, The Blues Brothers, Zoolander, Old School, Fight Club, The Usual Suspects, Taxi Driver, Fargo, O Brother Where Art Thou?, Monty Python's The Meaning of Life, Elf, Top Gun, </em>and others, but if I searched around for every single quote I occasionally drop in conversation or say to myself this would be a much longer, even more boring list.</div><div></div><div>What are some of you favorite movie quotes?</div></div></div></div></div>VaderMcCandlesshttp://www.blogger.com/profile/14300294940644407356noreply@blogger.com0tag:blogger.com,1999:blog-7850292168896483109.post-37826225467537248302008-11-29T20:54:00.000-08:002008-11-30T09:56:11.201-08:00Four underrated movies I just had to write about<p>I think the title explains this post pretty accurately.</p><blockquote></blockquote><blockquote></blockquote><p>In Good Company (2004)<br /><a href="http://1.bp.blogspot.com/_cxL0QHyOz-Q/STId8kV6MfI/AAAAAAAAAC4/LVVe87HiJX0/s1600-h/in_good_company.jpg"><img id="BLOGGER_PHOTO_ID_5274311039989199346" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 216px; CURSOR: hand; HEIGHT: 320px" alt="" src="http://1.bp.blogspot.com/_cxL0QHyOz-Q/STId8kV6MfI/AAAAAAAAAC4/LVVe87HiJX0/s320/in_good_company.jpg" border="0" /></a>The thing I like about this film is that it doesn’t try to be something it’s not. It knows it’s a light drama with a likable cast, but it actually gives them some interesting and realistic situations to handle. I also enjoy that, even though it’s PG-13 (for “some sexual content and drug references”) it’s a very clean film, one you could watch with a group of teens and later discuss how characters handled situations and how people treated each other. Basically it’s the moral opposite of <em>American Pie</em>, which was half directed by <em>In Good Company</em>'s Paul Weitz.<br />Denis Quaid, Topher Grace and Scarlet Johansson work well together here. Quaid is Johansson’s father, who’s new boss is the young Topher Grace who starts getting romantically involved with Quiad’s daughter. The situations never get melodramatic or over the top, and by the end you can sympathize with each character. A nice change of pace from the barrage of lame crude comedies we see all the time.<br /></p><p></p><p>The Final Cut (2004)<a href="http://2.bp.blogspot.com/_cxL0QHyOz-Q/STId8JKRBcI/AAAAAAAAACo/jE2OxmZlCUg/s1600-h/final_cut.jpg"><img id="BLOGGER_PHOTO_ID_5274311032692606402" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 210px; CURSOR: hand; HEIGHT: 320px" alt="" src="http://2.bp.blogspot.com/_cxL0QHyOz-Q/STId8JKRBcI/AAAAAAAAACo/jE2OxmZlCUg/s320/final_cut.jpg" border="0" /></a><br />On the surface, this is a typical dystopian future sci-fi thriller with your basic “is technology too powerful?” theme. The Final Cut, however, is elevated above your average dystopian future sci-fi thriller due to the interesting look and its noir-ish atmosphere. When I say interesting look, I’m referring mostly to the fact that the film looks as though it were taking place today, save for a few leaps in technology, mainly the “Zoe” memory chip. This microchip is placed in your brain to record your memories, which allows others to view an edited version to remember you by after you have passed away. Robin Williams plays an editor, aka “cutter”, of diseased individuals’ memories who gets wrapped up in a plot that I won’t reveal here. Half the fun of <em>The Final Cut</em>'s plot is that it isn’t particularly new or revolutionary, but it has interesting twists and turns as well as some very well thought out observations on the powers of technology.</p><br /><p>Down in the Valley (2006)<a href="http://4.bp.blogspot.com/_cxL0QHyOz-Q/STId8PhDvDI/AAAAAAAAACg/hqgx4zswA_0/s1600-h/down_in_the_valley_ver3.jpg"><img id="BLOGGER_PHOTO_ID_5274311034398817330" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 216px; CURSOR: hand; HEIGHT: 320px" alt="" src="http://4.bp.blogspot.com/_cxL0QHyOz-Q/STId8PhDvDI/AAAAAAAAACg/hqgx4zswA_0/s320/down_in_the_valley_ver3.jpg" border="0" /></a></p><br />This, in my opinion, is the most underrated film on this little list, such as it is. <em>Down in the Valley</em> carries some of the feeling of boredom and regret found in films such as <em>The Last Picture Show</em> while having a character that is inspired by Travis Bickle in <em>Taxi Driver</em>. In fact, Edward Norton, as the seemingly always calm and together Harlan, has a scene straight out of <em>Taxi Driver</em> where he talks to an imaginary foe while staring himself down in a mirror, playing with his guns. Norton and Evan Rachel Wood (as Tobe) are excellent together as two troubled young people who feel trapped by high powers (Tobe by her father and Harlan by society). Tobe’s father, Wade (David Morse), is an untrusting, controlling, harsh man who doesn’t enjoy having his power over his children questioned by Harlan, even when Harlan calmly and politely introduces himself to him and his rather meek son Lonnie (Rory Culkin). It becomes obvious Tobe and Lonnie could use a better father figure in their life, but when Harlan and Tobe’s relationship starts to end it becomes clear that Harlan may not be as reliable a male role model as he first appeared.<br />Some have been quick to judge Down in the Valley as a straight-up rip-off of <em>Taxi Driver</em>, but I think that’s a bit of a harsh accusation. I think it’s obvious writer/director David Jacobson has seen <em>Taxi Driver</em> and was heavily inspired by it, but instead of saying Down in the Valley is a rip-off, I would say it takes some of the basic ideas and elements of <em>Taxi Driver</em> and reworks them in a different direction and to a different degree.<br /><br />Lucky Number Slevin (2006)<br /><a href="http://2.bp.blogspot.com/_cxL0QHyOz-Q/STId8QuIzYI/AAAAAAAAACw/qwk34oIN6qc/s1600-h/lucky_number_slevin.jpg"><img id="BLOGGER_PHOTO_ID_5274311034722110850" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 217px; CURSOR: hand; HEIGHT: 320px" alt="" src="http://2.bp.blogspot.com/_cxL0QHyOz-Q/STId8QuIzYI/AAAAAAAAACw/qwk34oIN6qc/s320/lucky_number_slevin.jpg" border="0" /></a><br /><br />Why <em>Lucky Number Slevin</em> isn’t more well known is beyond me. With a cast including Morgan Freeman, Bruce Willis, Ben Kingsley, Stanley Tucci, Josh Hartnett and Lucy Lui you’d think more people would have seen it. On top of a star-studded cast, this film has more style than any film Guy Richie has ever made with dialog Tarantino fans would eat up and twists reminiscent of <em>The Usual Suspects</em>. What I love about <em>Lucky Number Slevin</em> most is probably the style. Sure the actors are good, the dialog is fun and the plot is clever and engaging (albeit not quite as air-tight as that <em>Usual Suspects</em> reference might lead you to believe), but this films has so much style it almost wouldn’t matter if the plot turned out to suck. <em>Slevin</em> is filled with colors, hit men, mob bosses, music and insanely cool wallpaper (the kind you would probably never see anywhere outside a film like this), just to name a few things. If you think Guy Richie is overrated (which he is) and want to see something really slick and entertaining, check this film out.VaderMcCandlesshttp://www.blogger.com/profile/14300294940644407356noreply@blogger.com0tag:blogger.com,1999:blog-7850292168896483109.post-56481504675474120832008-11-25T15:53:00.000-08:002008-11-25T16:52:57.927-08:00Some Things I Love Right NowJust thought I'd post a few things from/involving film that right now, at this moment, I can't help but love:<br /><br /><br /><ul><li>This poster from <em>Paprika. </em>Watched this film yesterday and really enjoyed it, but I absolutely love the poster. I've seen less anime than I care to admit, but of the five or six films I have seen, this one is possibly my favorite. Maybe because, compared to other films I've seen, it's very serious or maybe because it talks about how dreams are like films. Still, sometimes a poster can perfectly capture something (Essence? Spirit? Style? Mood?) present in a film and you can't help but wish the poster was the film.</li></ul><p><img id="BLOGGER_PHOTO_ID_5272748897182579058" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 269px; CURSOR: hand; HEIGHT: 400px; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_cxL0QHyOz-Q/SSyRL45meXI/AAAAAAAAABw/YP1ri8Fvvkc/s400/paprika_poster.jpg" border="0" /></p><p> </p><ul><li>Tilda Swinton in <em>Michael Clayton. </em>I just finished watching this and cannot stop thinking of her great performance. She shows us a woman who is very powerful but very nervious. She gets nervious preparing for a television interview, but only has to think for a moment when deciding whether or not to kill a man.</li></ul><p><img id="BLOGGER_PHOTO_ID_5272749978255519362" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 268px; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_cxL0QHyOz-Q/SSySK0NeboI/AAAAAAAAAB4/Q8nBeA7HAlM/s400/mclayton_tilda.jpg" border="0" /></p><p> </p><ul><li>The way some films weave references and pay homage to other films, thereby connecting themselves to the worlds and mythology of those films. For example: in Quentin Tarantino's <em>Kill Bill Vol. 1 </em>Uma Thurman's The Bride travels to Japan in order to get a sword made by Hanzô Hattori, which in a strange way ties Tarantino's film to those other Hattori Hanzô films, or at least the TV series Sonny Chiba starred in. Tarantino has countless references to other films, and filmmakers like Kevin Smith sometimes make their films unofficial sequels to one another (Smith's View Askewniverse ties many of his films together through characters, events and locations), but filmmakers reference other filmmakers' work all the time, and I can't get enough of it. It's as if all these films are taking place in the same bizzare, wonderful universe.</li></ul>VaderMcCandlesshttp://www.blogger.com/profile/14300294940644407356noreply@blogger.com0tag:blogger.com,1999:blog-7850292168896483109.post-48527057325783853572008-11-02T16:05:00.000-08:002008-11-02T17:03:31.903-08:00Some movie reviewshere are a few reviews for films I've written on my Flixster profile on my Facebook account (stars rated out of 5):<br /><div><div><div><div><br /><br /><div><a href="http://3.bp.blogspot.com/_cxL0QHyOz-Q/SQ5MZkVIKlI/AAAAAAAAABA/AAHqd2qSpzQ/s1600-h/Baxter.jpg"><img id="BLOGGER_PHOTO_ID_5264229016575421010" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 54px; CURSOR: hand; HEIGHT: 79px" alt="" src="http://3.bp.blogspot.com/_cxL0QHyOz-Q/SQ5MZkVIKlI/AAAAAAAAABA/AAHqd2qSpzQ/s200/Baxter.jpg" border="0" /></a>The Baxter (2005) ****</div><div>I rented this for three reasons: I thought the premise of a film about the "wrong guy" who gets left at the alter was great, I think Elizabeth Banks is beautiful, and after watching Wet Hot American Summer I wanted to see if any of Michael Showalter's other films were as funny. I love this film. Michael Showalter is great at playing a shy, girly-man. There are so many great jokes poking fun at traditional romantic comedy clichés, and yet the film still manages to have a heart and keep you rooting for Showalter's "Baxter". It's also great fun to see other cast members from Wet Hot American Summer in supporting performances or bit parts. I loved (LOVED) the little ending with Paul Rudd. having never seen Michelle Williams in such a large role, I was very impressed with her, she was the perfect uncomfortably shy fit for Showalter. My only complaint, which isn't reeally a complaint, is that oftentimes "Baxters" in films are jerks, not the nice-but-shy guys Showalter seems to insinuate. But to his credit there are films with nice-guy Baxters, and I suppose if Showalter were to play a prick here his character wouldn't be as relatable and the film would feel too cold-hearted. Overall, if you love subtle humor that plays against normal genre clichés, or if you just want to watch an uncommonly good and sweet film, check out The Baxter.</div><br /><br /><div><a href="http://2.bp.blogspot.com/_cxL0QHyOz-Q/SQ5Mw75S0hI/AAAAAAAAABI/dC1lZstnozY/s1600-h/RoadtoWellville.jpg"><img id="BLOGGER_PHOTO_ID_5264229418038120978" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 54px; CURSOR: hand; HEIGHT: 79px" alt="" src="http://2.bp.blogspot.com/_cxL0QHyOz-Q/SQ5Mw75S0hI/AAAAAAAAABI/dC1lZstnozY/s200/RoadtoWellville.jpg" border="0" /></a>The Road to Wellville (1994) *1/2</div><div>Long and unfunny. I enjoyed John Cusack, although he has an unimportant part here, and Bridget Fonda is beautiful, but other than that the cast is either uninteresting or overacts terribly. The production values are relatively impressive, but the story is split between three uninteresting stories that don't really coherently connect. The first 30 minutes are interesting, but after an hour I was ready for it to end. What exactly is this supposed to be parodying? Are we supposed to laugh at how silly the "health craze" was? You could say the strange and useless remedies and characters featured here are an allegory for our society today, but I felt Parker was more preoccupied with showing silly people do silly things than focusing on a meaning.</div><br /><br /><div><a href="http://3.bp.blogspot.com/_cxL0QHyOz-Q/SQ5NA8EbxVI/AAAAAAAAABQ/ceK7qLDfUqI/s1600-h/Syriana.jpg"><img id="BLOGGER_PHOTO_ID_5264229692962751826" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 64px; CURSOR: hand; HEIGHT: 93px" alt="" src="http://3.bp.blogspot.com/_cxL0QHyOz-Q/SQ5NA8EbxVI/AAAAAAAAABQ/ceK7qLDfUqI/s200/Syriana.jpg" border="0" /></a>Syriana (2005) **</div><div>Decided to give it a second chance, but only found it more agonizingly self-absorbed and preachy. It's not that I disagree with all of the (obviously) liberal views presented here, but they are just so painfully obvious and unnecessarily exaggerated. Also, do we really need a film to tell us not everyone in the Middle East is a terrorist, that many terrorist organizations draw young people in because they offer assurances that other organizations don't, that government is corrupt, and the current war is very much over oil? Well, some people might not know that, but then again, those people probably get excited over the latest "Scary" or "Epic" spoof movie. The only aspect of this film worth any real praise is Clooney's performance. Although it may not have been as Oscar worthy as some of his others, he is the only character that we actually feel is real and not simply a stereotype. Clooney makes Bob a sad, lonely figure who has a need to know what is happening and why. I only wish I new what was happening, since Gaghan seems to pile on story after story while "interconnecting" them in ways only slightly more meaningful than those in Paul Haggis' overrated "Crash". Ultimately, Syriana not only fails as a thriller, (because it is too confusing and complex to have a tight ending or focus) or a drama (some of the situations these characters are in seem artificial and a few of the actors are not to the task of creating meaningful and relatable characters), but also as a message film because you really won't find anything in this film about Middle Eastern culture or the oil business that you either didn't already know and have opinions about. No doubt the filmmakers had good intentions when making the film, but ultimately it feels over-elaborate, showy and pretentious.</div><br /><br /><div><a href="http://3.bp.blogspot.com/_cxL0QHyOz-Q/SQ5NlnmoblI/AAAAAAAAABg/pEgN8dyhVNw/s1600-h/Teeth.jpg"><img id="BLOGGER_PHOTO_ID_5264230323124203090" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 71px; CURSOR: hand; HEIGHT: 101px" alt="" src="http://3.bp.blogspot.com/_cxL0QHyOz-Q/SQ5NlnmoblI/AAAAAAAAABg/pEgN8dyhVNw/s200/Teeth.jpg" border="0" /></a>Teeth (2007) ***1/2</div><div>The fact that this is a film about a girl with "vagina dentata" might make it seem really crass and disgusting, and while it is disgusting, it's also a really smart and unique look at teenage sexuality and a young girl coming to terms with her own body. It's also about reversing the roles in violent sexual situations. Here the girl has the ultimate power over the male, and when one boy tries to date-rape Dawn, he pays the price. Yet it's also a commentary on how low society seems to view women and how that influences how men view women and how women view themselves. This isn't necessarily a great film, and I'm sort of in between giving three-and-a-half or four stars, but it's really entertaining and really interesting.</div><br /><br /><div><a href="http://3.bp.blogspot.com/_cxL0QHyOz-Q/SQ5NUN3yXdI/AAAAAAAAABY/Mm8r9OkbSeA/s1600-h/CapeFear.jpg"><img id="BLOGGER_PHOTO_ID_5264230024159059410" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 65px; CURSOR: hand; HEIGHT: 97px" alt="" src="http://3.bp.blogspot.com/_cxL0QHyOz-Q/SQ5NUN3yXdI/AAAAAAAAABY/Mm8r9OkbSeA/s200/CapeFear.jpg" border="0" /></a>Cape Fear (1991) ***1/2</div><div>An excellent thriller from Scorsese that manages to update on the original while still feeling fresh. De Niro is delightfully menacing as Max Cady, and Nolte, Lange and Lewis are all convincing as the family he stalks. While both this version and the original 1962 one take psychological approaches to scare us and the family, this one adds a new level of fear by creating tension within the Bowden family and by making Cady a very charismatic villain who manages to separate the family from each other even more. There are a few drawbacks though, and they are the reason I can't give this film four stars. For one thing, the film is simply too long. usually I view the length of the film as a decision made by the director and editor for both stylistic and storytelling purposes, but the fact is this story could have been told better if 15-20 minutes had been cut out. Also, towards the end the film falls prey to a few typical clichés: a character conveniently has a tape recorder hidden on him, a character manages to kill someone and disguise himself in a rather preposterous scene, and Cady's way of following the Bowden's to Cape Fear is a bit far-fetched. Other than those few complaints, this is a first-rate thriller that delves deeper into the characters than most films.</div></div></div></div></div>VaderMcCandlesshttp://www.blogger.com/profile/14300294940644407356noreply@blogger.com0tag:blogger.com,1999:blog-7850292168896483109.post-14172437312451297712008-11-02T15:54:00.000-08:002008-11-02T15:56:15.636-08:00First Post November 2, 2008Okay, my first post on a blog ten people might read if I'm lucky!VaderMcCandlesshttp://www.blogger.com/profile/14300294940644407356noreply@blogger.com0