the academy awards... this time, with more blog!

One of the greatest benefits of being a Film Studies major -- other than personal enrichment, of course -- is the heightened ability to be a braggard. I get to spend my time reading Entertainment Weekly, scouring IMDb and Wikipedia, and watching anything on E! and Vh1, while telling myself is all research. All the time I spend in a matinée at the Laemmle or with a DVD on, I consider to be studying for an edge in my path through the Industry. So it is with great vindication that I announce myself as the winner of this year's Oscar pool. Now, I only won $6.25, but this was my first Oscar pool ever, and it is with pride that I toot my own horn. So here is my amateur account of the results of Sunday night's almost-didn't-happen 80th Academy Awards.

Best Picture - No Country for Old Men

The Coen brothers' No Country for Old Men, unsurprisingly took top billing at this year's primo awards show. While I would never have voted for it as being the best of anything, it certainly had wonderful performances across the board, interesting filmmaking choices (notably the lack of music), and portrayed an unusual worldview. In my opinion, Paul Thomas Anderson's There Will Be Blood deserved the award more, but No Country was always going to win.

Best Directing - Joel Coen and Ethan Coen, No Country for Old Men

Hand in hand with the best pic award for the film (just seeing Sam Rudin on TV gives me shivers), Joel and Ethan Coen were awarded their second Oscar for directing. I keep promising to watch Fargo, and I loved Raising Arizona and O Brother, Where Art Thou, so I can see why they won even if the film wasn't my favorite. Just like PTA did in Blood, they counterbalanced violent characters against sweeping pastoral landscapes, but the claustrophobic world within a motel room was where the Coens shone with this film.

Best Actor in a Leading Role - Daniel Day-Lewis, There Will Be Blood

Had Daniel Day-Lewis not been awarded Best Actor, there absolutely would have been blood, if I had anything to say about it! *rimshot* He has shown, once again, his devotion to the craft of acting (when he's not making shoes, of course), and his superhuman ability to transform into another person so completely. His Daniel Plainview was so believable a lonely tyrant that I couldn't help but feel for him even when I couldn't agree with his actions. I'm past due for a Day-Lewis retrospective, as it's been years since I've watched My Left Foot or Last of the Mohicans. So hammy Sir Olivier takes issue with Method acting, if it makes Day-Lewis turn out the kinds of performances that he does, then I say to hell with Olivier! [/vitriol]

Best Actress in a Leading Role - Marion Cotillard, La Vie en Rose

I haven't seen La Vie en Rose, so all I can say about Best Actress Marion Cotillard's performance is secondhand. Her physical transformation, at least, was remarkable, and everything I've read about her dedication to learning how to mirror Edith Piaf's tics and performance styles has been incredibly respectable. Of the performances I did see, my vote was for the wonderful Laura Linney, but I can see why the Academy would have gone for a perhaps more demanding performance than one as restrained as Linney's.

Best Actor in a Supporting Role - Javier Bardem, No Country for Old Men

No one was surprised that Javier Bardem won Best Supporting actor, so I don't have much to say here. He certainly put on quite a show as Anton Chigurh, which is evident once you see how adorable he is in interviews. Also, I'm reminded to finally watch El Mar Adentro, as I've wanted to for years. Also, Bardem is about as Spanish as they get. Did you see his mama's jewelry?

Best Actress in a Supporting Role - Tilda Swinton, Michael Clayton

Though I expected Cate Blanchett to win Best Supporting Actress, I'm not surprised that this would have been the category to get Michael Clayton as award. Unfortunately, traffic kept me from the screening I was hoping to attend the other night, so I have to wait until it comes in my Netflix soon. I can say, however, that Swinton's eccentric acceptance speech was just what I wanted from her. She is the one reason why I can't fully regret having seen Constantine (in theaters, no less - it was not my decision), so I'm glad to see her so well-respected.

Best Writing (Original Screenplay) - Diablo Cody, Juno

Diablo Cody's win for Juno was both expected and endearing. I read her screenplay after I saw the film, but it's definitely for more than just her previous employment choices that she's Hollywood's "It Girl" new screenwriter. Some of the dialogue is a bit hamfisted ("honest to blog," seriously?), but the relationships and themes are so believable, and the voice so unique, that I'm very glad she won. I know she's gotten flack for being a one-trick pony, but I think that her ability to write a smart young female character, and an aging manchild more believable than anything Matthew McConaughey might play, is hard to find these days.

Best Writing (Adapted Screenplay) - Joel Coen and Ethan Coen, No Country for Old Men

I haven't read Cormac McCarthy's novel, but against Atonement and There Will Be Blood, I can understand why this award-sweeping film's screenplay would have won. I haven't read Upton Sinclair's Oil! either, but I've read that PTA took a lot of liberties with his adaptation, and I certainly would never have voted for Chris Hampton's take on Ian McEwan's outstanding novel. As for the other two nominees, I'm afraid I'm out of the loop.

Best Cinematography - Robert Elswit, There Will Be Blood

Of all of the beautiful shots in all of the nominated films in this category, There Will Be Blood was absolutely saturated with them. It's difficult to tear your eyes away from the characters whenever they're staring each other down, but there are certain moments when the world of the film just screams with poetic juxtaposition. The most striking of these occurs when Eli Sunday marches towards Daniel Plainview, determined to get an answer about a previously made promise. He strides past a pool of oil glistening on the scorched California earth, and the clear expanse of blue sky dotted with unassuming clouds is perfectly, crisply reflected in the black gold. Stunning.

Best Music (Score) - Dario Marianelli, Atonement

Marianelli is officially the only Joe Wright return collaborator that I am impressed with. Though I enjoyed Atonement greatly, it wasn't that swell of an adaptation, and Keira Knightley was only slightly less obnoxious than she was in Pride & Prejudice. [Though I must say, she perfectly fits McEwan's physical description of Cecilia.] The film's score is one of the most enrapturing elements of the beautiful story, tying together a wonderfully WWII appropriate piano theme with recurring intrusions of typewriter sound. Without the score, this film would have been something entirely different. Take that, Dogme 95!

Best Music (Song) - Glen Hansard and Marketa Irglova, "Falling Slowly," Once

John Stewart, who did a much better job hosting this year than he did a couple of years ago, totally won my "favorite Oscar host ever" award when he (or whichever of the show's producers, whatevs) let Marketa go back onstage to give a speech after she was cut off the first time around. Once and its beautiful music affected me so strongly, I don't really know how to quantify my pleasure at the fact that it got some critical recognition during awards season. Please, please, for the love of art, see Once. Oh, and Amy Adams is a darling, and I hope that she gets cast in the first run of the inevitable Broadway adaptation of Enchanted, which would do very well on stage.


So, I can't really say much about the other "big" categories...editing/mixing? Well, I saw some of the dailies from the Bourne Ultimatum, and it was so shaky that I can't imagine I'd be able to sit through the entire thing without a little dizziness. Ratatouille as best animated feature? Couldn't watch it, as I dealt with a horrifying rodent problem last year when I moved into a new apartment, and I don't think I will be seeing it anytime soon. I will be seeing Persepolis this weekend though, after I finish reading Marjane Satrapi's graphic novel. I thought it had a shot of winning as it wasn't eligible for Best Foreign Language feature, but apparently Ratatouille was the fan favorite of the year. I didn't see any of the shorts or the foreign language nominees, I'm afraid, so all I can say there is that The Counterfeiter looks pretty fantastic.

Again, sorry for being so lax with posting these past few months. I'm trying to up my media intake, so hopefully I'll be able to vent my musings with some frequency in the future. That's all, folks!

trailer sunday

When Did You Last See Your Father? (TBD)
What is it about me that makes me crave British movies about sad families all the time? Unless maybe it's just Colin Firth luring me in. I don't know, this particular movie doesn't look any different than any other one about the same thing, but after having watched Distant Voices / Still Lives, it's nice to get back to convention. Anyway, it's directed by Anand Tucker, who made Shopgirl and Hilary and Jackie, two movies I really appreciate, and has a proven cast, so maybe there is something special here to be surprised by!


Saawariya (November 9)
So, apparently this has already come out, but I only just heard of it. The first Bollywood film to be distributed by a Hollywood company, even the trailer gives this film a different look than most of the Bollywood films I've seen. My first thought was, "Baz Luhrmann, on sedatives, makes a Bollywood movie." Now, I just really want Baz Luhrmann to make a Bollywood movie. Actually, Saawariya is the latest adaptation of Fyodor Dostoyevsky's short story "White Nights." I'm sure I'll rent this one.


There Will Be Blood (December 26)
Paul Thomas Anderson. Daniel Day Lewis. Paul Dano, of Lifetime Original Movie Too Young to Be a Dad fame. Adaptation of Upton Sinclair's novel Oil! I think the last time a collection of factoids about a movie made me this excited was when I heard, "Jake Gyllenhaal Heath Ledger gay cowboys" back at girls' school. And this time, I'm excited about the movie, not just the possible ramifications on the slash fan fiction market. It will be very interesting to see what PTA does with someone else's source material, for a change. I'm more than curious. Same goes with Wes Anderson's The Fantastic Mr. Fox, which looks like it's going to buck all of his conventions except for casting! You know I'm all over ensembles that stick together, as with these two directors and, say, Christopher Guest. So it's very exciting when they veer away from formula.


Cloverfield (January 18)
So, buzz has been buzzing about this JJ Abrams project for some time now, and I must say that I thought the teaser trailer that came out a few months ago was quite a bit scarier than the extended one we have now, but I'm still looking forward to this. I'm generally into the apocalyptic type of horror film, and from what I've seen online, the monsters here are supposed to be particularly terrifying. I'm interested to see how a big budget and a reliance on "handheld-looking" camera work will play out, as I think we've moved far past the motion sick times of Blair Witch. Also, I hope the Smoke Monster gets a cameo.


Harold and Kumar 2 (April 25)
A couple of months ago, needing something mindless to watch while sick in bed, I watched a really crappy bootleg of Harold and Kumar on TVLinks (RIP). I was expecting something awful, as I've never been a fan of those gross-out movies that teen boys love but are otherwise completely stupid, but ever since Grandma's Boy hit me like a ton of bricks, I thought I'd give it a chance. H&K was a lot funnier than I was expecting, and I don't know why no one had ever told me about the hilarious commentary on racial perceptions! There were plenty of pointless sequences in the movie, but I guess they had to suck in their target audience of stoner preteens somehow. The sequel looks like it will provide a lot more of what I enjoyed about the first one, and I just hope it can make fun of current events without reminding anyone of Delta Farce (having even referenced it makes me want to throw up).

trailer mondays?

Let's see if they stick! I know I should have gone with my lit major roots and used alliteration, but I was too bored to wait until Trailer Tuesdays... Also, I want to give props to Stagafling and thank him for the shout-out. I knew something good would come of watching too much TV!

Waitress (April 27)
I have been waiting for this movie for quite some time now, and I think it's going to be delicious (I can't stop with the crappy puns...sorry). It's a real shame how the tragedy of filmmaker Adrienne Shelly may skew the reception of the film, but it seems to be a perfectly stylized vehicle from which I expect the best of Keri Russell and Cheryl Hines. Nathan Fillion, of course, is never a bad thing!


Duck (May 11)
I couldn't tell you what this is about or if it looks like it'll be any good. But the website certainly has enough leafy crescents to imply that there's great critical value to this film that nobody else has ever heard of. One thing's for sure, Philip Baker Hall has given such amazing performances in Paul Thomas Anderson's movies that I must expect greatness from him in a starring role.


Fay Grim (May 18)
Parker Posey and Jeff Goldblum together seems like it would promise some off-beat chemistry, but I cannot say I have high hopes for this picture. First of all, the entire movie seems to be filmed in dutch angles, where the camera has been tilted to lend a sense of unease or quirkiness to everything, which gives me pause in a movie about terrorism? kidnapping or murder? government plots? Can't quite tell. The most unfortunate thing about the trailer is the final title card, which reads, "Watch the way you want. Opens May 18th in theatres and on HDNet Movies. Available May 22nd on DVD." Yeah, the studio really thinks this one is going to make money...see for yourself:


Evan Almighty (June 22)
Bruce Almighty was surprisingly better than I could have expected, but I found the main characters too unlikable and unrelatable for the humor to really come across and hit the mark every time. I have a lot of faith (hee) in Steve Carell's ability to pull this antediluvian character off, and I must say that the story looks quite a bit sweeter and easier to stomach than having to watch Jim Carrey conjure a monkey out of a cholo's ass. Though I must wonder how the film is going to get around the implications for the audience of creating a diegesis where the moviegoers are part of a world of abhorrent sinners that need to be wiped out by a new deluge. Also, notice The Office's Ed Helms in a small role!


Stardust (August 10)
Oooh, this looks like so much fun! Couldn't really tell you what's going on, but I know I want to see this one on the big screen. Hopefully Michelle Pfeiffer, Robert DeNiro, Ricky Gervais, and Sienna Miller won't fall into the same stylistic ruts they've individually occupied for the past few years. And man, do I loves me some Claire Danes!


Superbad (August 17)
Yes! This looks like much of the funny could not be included in the trailer. Reminiscent of Knocked Up, perhaps? Why yes! Produced by Judd Apatow and starring Seth Rogen, it looks like a broader take on "Freaks and Geeks," which can only be a good thing (as long as it isn't too broad, I suppose). And let us not forget - Michael Cera is a bonafide God-among-men. Stay tuned after the trailer below for some bonus Michael Cera action...



Martian Child (October 26)
I wasn't sure how I felt about this at first (K-Pax meets Millions? Starring The John Cusack?), but now I am starting to think that this may be just the kind of movie I'd like to see him in at his age. Identity was good, but having seen Must Love Dogs and (oh hell no) America's Sweethearts, I feel like studios haven't known what to do with such a good actor when he's too old to play Lloyd Dobler anymore. Certainly, he's mastered some more "adult" roles, but I think he will settle into the fatherhood role with the grace of a Shopgirl Steve Martin instead of a Cheaper by the Dozen one. Also, John Cusack --> High Fidelity --> Nick Horby --> About a Boy --> the right kind of role for John Cusack right now.

the love song of p. seymour hoffman

As Professor M taught me, a man doesn't have to be drop-dead gorgeous in order to win my love. From the first day sitting in his class, I felt my heart being swept away on the wings of his words forever. Something about his halted swagger, smooth velvety voice, and impeccable fashion sense just work together to create this frenetic sexual energy that radiates through the room as soon as he walks in... In Hollywood there are very few who have this same presence onscreen. One such man is the lovely Philip Seymour Hoffman.


Okay, so I've only seen twelve of his 47 IMDb acting credits, but I just wanted to say a few sweet words. The first time I was aware of PSH's virility and verve was in his role as Lester Bangs in Almost Famous. "The only true currency in this world is what we share with someone else when we're uncool." Teenage Kat in high school with her headphones on and her awkwardness and her dirty sneakers pretty much went nuts for that line. I later realized he wasn't a one-hit wonder when I saw him ironically-sans-pornstache in Boogie Nights. Paul Thomas Anderson brought us the ultimate trifecta of sexy-ugly with PSH, John C. Reilly, and Mark Wahlberg, and while the last two were running around shirtless and doing chicks, PSH's Scotty was making me sweat. Maybe it's the short shorts and the ill-fitting tank tops stretched over his expanse of stomach, maybe it's his awkwardly colored and poorly styled hair, but he brings so much anguish to his unrequited love for Dirk Diggler that whenever his character takes center stage, the dramatic irony reaches uncomfortable levels and I can't help but squirm in my seat watching everything go wrong.

What I loved about seeing many of Boogie Nights' actors return to working together in Magnolia was that they were still playing characters as insecure as their previous roles, but with completely different strengths and dynamics. As hospice nurse Phil Parma, he conveys a sensitivity and tranquility that Scotty would have been incredibly jealous of. At first I assumed the character was gay, but upon repeated viewings I realize this is not necessarily true. Though Parma lacks the raw sexiness of PSH, he is a completely believable young man who has simply settled into his place in life, but still manages to be surprised by what can make him feel. (Wow, just thinking of these PTA films is making me write an ode to John C. Reilly in my head. Maybe later...)

I wasn't sure what to expect out of Capote, movie-wise, but I am still impressed by PSH's range two years later. Apologetic yes-man Brandt in The Big Lebowski, greasy deviant priest Veasey (what a great name) in Cold Mountain, and now unlikable leading man. You know you've made it as a star when... Sure, at first the Truman voice was disconcerting, but the pacing and atmosphere of the picture allowed me to look past it after a while. As far as how the film made me feel about the true events and real people that inspired it, I won't attribute that to Mr. Hoffman. But the fact that he could bring gravitas to a character that most viewers are familiar with, all the while taking that squeaky voice completely seriously, just makes my heart swell.

Oh, what a man!


~Kat

P.S.