tag:blogger.com,1999:blog-28094515368398110372024-03-13T21:29:46.404-04:00A Year in Filma personal log of my perspectives on filmRichhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.comBlogger347125tag:blogger.com,1999:blog-2809451536839811037.post-8247018736045714412016-01-05T22:00:00.000-05:002016-01-05T22:00:51.835-05:00Review: Joy<img src="http://www.celebitchy.com/wp-content/uploads/2015/07/joy-1.jpg" width="490" />
Genre: Drama (Biopic)
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Mr. Russell, like a host throwing an at best tepid New Year's party, seems to think that a cool soundtrack is a sufficient mask for a flimsy mood, that no one will notice and everyone in attendance will still have a good time — at least, by publishing his new <i>Joy</i>, a biopic of a modern inventress, an audience member could hardly but think that he does. <i>Joy</i> is — in a word — a frippery. A fantastically told tale of a harried young woman who somehow against the wringing machinations of her self-centered family members bears up and finds economic and personal stability in the halls of QVC, the film is almost wholly unmoored from any realistic touchstone that might otherwise give emotional gravitas to its clearly intendedly emotional storytelling. Ms. Lawrence's flat performance doesn't help the situation. In fact, other than Ms. Elisabeth Röhm who plays Joy's half-sister as an adult, Mr. Cooper is the only performer in the film who truly delivers. He fully carries and makes magical the most redeeming scene in <i>Joy</i>, the second QVC scene. An understated delivery where other actors would have given full force, Mr. Cooper knows how to counterbalance the rhythm of the scene and build an interesting dynamic character, a great supporting turn. Otherwise, I can recommend <i>Joy</i> only for its production design — which, though good, unfortunately pales in comparison with the beautiful production design in other films this year (e.g., <i>Macbeth</i>).
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Grade: C+, the staying power of a QVC sale. Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-20581319234914060592015-06-15T00:07:00.003-04:002015-06-16T07:11:41.838-04:00Review: Jurassic World<br />
Genre: Action / Satire <br>
<img src="https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcTGQ8NgNDkTI0iOE0_HpDdt77MLIGcomrpwKdAqyfRm3cwfAuWy" width="390" />
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A good film must always start with a smart screenplay, for the screenplay establishes the backbone onto which all the appendages of filmcraft are later embodied. <i>Jurassic World</i>, the fourth (for those counting) installment in the <i>Jurassic</i> film franchise, surprisingly had backbone — and much else to its credit.<br />
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Writer and director Colin Trevorrow and writers Rick Jaffa, Amanda Silver, and Derek Connolly wield the core artifice of the beloved franchise, not like a paintbrush by which to illustrate audience members' both light and dark dreams as the original franchise writers Crichton and Koepp did, but rather like a lance with which to sharply skewer the boil of inflating consumerism ironically coaxing on this already classic franchise. Indeed, the plot's structure is governed and seasoned throughout to smack the hand that reaches for what it offers with its own other. At every major plot point, the vital juices that like sugars the standard contemporary Summer blockbuster audience craves in epic battle sequences, jaw-dropping CGI, nightmarish thrills, romantic attractions (including especially lusts), and even familial bond trials are served up only to quickly thereafter be bathed in an acid wash of sardonicism, hyperbole, grotesqueness, or (in the best instances) irony. The audience is pummeled and jabbed while on the edge of its seat — no, because it is on the edge of its seat — and at times even fervently reminded that "more" is in poor taste. Of course, this essential element in the film is carefully coded, lest the audience be like the protagonist in Kubrick's (1972) <i>A Clockwork Orange</i> all too aware of and consequently upset by its violent attempted recondition. However, cloaks can only disguise figures to a certain extent; to a viewer who notices the inanity in the theme park guest who in the midst of an aerial attack chooses to save not just one but two cocktails from his outdoor table before running for cover, everything is apparent — and relieving, relieving of that one's expectations of the film have non-negotiable parameters into which everything must neatly fit to achieve maximal effect.<br />
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A key feature of the film, like any other film, is in the characters whose lives it follows. In a traditional Summer film, the stock characters representing ardor, bravery, comedy, or demonry are brought out, basically to wave at the audience and then retire flatly to the sofa in the back room. In this film, stock characters representing such traits emerge clearly but, like radioactive materials, then slowly decay over the course of the film, to reveal a thorough twist on the identities of the players. Nick Robinson's Zach presents as essentially a anthropomorphized penis, an adolescent entirely ruled by his sexual cravings (and sullen otherwise), but later resolves his storyline not with a heart-pounding kiss at the climax of action in the movie's final third — no, for we have already had such a kiss, diegetically commented on for a opening tone-setting element of satire, in the first few minutes of the film — nor even with the platonic bond-making chastity of fraternity — no again, for it is precisely this Spielberg-esque boyish wonder that obviously persistently entangles not only him but also nearly everyone else in play — but rather with a filial adherence to an older role model or "strong father figure", whose own virility by the way is so thoroughgoing that his romantic interest is bound notably to wearing high heels throughout the entire film for conceptual balance!<br />
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To say nothing of the Visual Effects, Sound Editing, or Sound Mixing — which were all stunning in their own rights — I must say simply that Mr. Pratt has perfected <b>the</b> definitive impression of a younger Clint Eastwood — both remarkable and horrifying in its own special way.<br />
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So, though of course this fourth installment into the <i>Jurassic</i> franchise had none of the novelty of its origin nor the untrammeled verve of its other predecessors, it has in its favor a sizable wry eye on its audience and for that alone I would say:<br />
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Grade: B/B-, a true modern fairy tale with a dash of something tastefully new. (Action porn seekers, look elsewhere.)Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-11503170878792655102015-02-22T20:47:00.000-05:002015-02-22T20:47:12.771-05:00The SpyGlasses Full: Official Winners (2014)The following are my official winners for the year in film 2014:
<br />
<br />
<table><tbody>
<tr> <td><strong>Best Film</strong> </td> </tr>
<tr> <td><b>The Grand Budapest Hotel</b><br />
Mr. Turner<br />
Song of the Sea<br />
<a href="http://ayearinfilm.blogspot.com/2014/12/review-whiplash.html">Whiplash</a> <br />
<a href="http://ayearinfilm.blogspot.com/2014/04/review-under-skin.html">Under the Skin</a></td> </tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Director</strong> </td> </tr>
<tr> <td><em>Wes Anderson</em>, The Grand Budapest Hotel <br />
<em>Damien Chazelle</em>, <a href="http://ayearinfilm.blogspot.com/2014/12/review-whiplash.html">Whiplash</a> <br />
<b><em>Jonathan Glazer</em>, <a href="http://ayearinfilm.blogspot.com/2014/04/review-under-skin.html">Under the Skin</a></b> <br />
<em>Alejandro González Iñárritu</em>, Birdman <br />
<em>Lasse Hallström</em>, The Hundred-Foot Journey</td>
</tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Actor</strong> </td> </tr>
<tr> <td><em>Benedict Cumberbatch</em>, The Imitation Game<br />
<em>Jake Gyllenhaal</em>, Nightcrawler<em><br />
Michael Keaton</em>, Birdman<br />
<em>Eddie Redmayne</em>, <a href="http://ayearinfilm.blogspot.com/2014/11/review-theory-of-everything.html">The Theory of Everything</a><br />
<b><em>Timothy Spall</em>, Mr. Turner</b></td>
</tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Actress</strong> </td> </tr>
<tr> <td><em>Jennifer Aniston</em>, Cake<br />
<em>Essie Davis</em>, The Babadook<br />
<em>Julianne Moore</em>, Still Alice<br />
<em>Rosamund Pike</em>, Gone Girl<br />
<em><strong>Reese Witherspoon</strong></em><b>, Wild</b></td>
</tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Supporting Actor</strong> </td> </tr>
<tr> <td><b><em>Ed Norton</em>, Birdman [tie]</b><br />
<em>Henry G. Sanders</em>, Selma<br />
<em><strong>J. K. Simmons</strong></em><b>, <a href="http://ayearinfilm.blogspot.com/2014/12/review-whiplash.html">Whiplash</a> [tie]</b><br />
<br /></td></tr>
</tbody></table>
<br />
<strong>Best Supporting Actress</strong> <br />
<em>Adriana Barraza</em>, Cake<br />
<b><em>Laura Dern</em>, Wild</b><br />
<em>Keira Knightley</em>, The Imitation Game<br />
<em>Lesley Manville</em>, Mr. Turner<br />
<em>Rene Russo</em>, Nightcrawler <br />
<br />
<strong>Best Art Direction </strong> <br />
<em>Simon Bowles & Liz Griffiths</em>, Pride <em><br /> Suzie Davies & Charlotte Watts</em>, Mr. Turner <br />
<em>Dennis Gassner & Anna Pinnock</em>, <a href="http://ayearinfilm.blogspot.com/2015/01/review-into-woods.html">Into the Woods</a> <br />
<em>Adrien Merigeau</em>, Song of the Sea <em><br />
<strong>Adam Stockhausen & Anna Pinnock</strong></em><b>, The Grand Budapest Hotel</b><br />
<br />
<strong>Best Cinematography</strong> <br />
<strong><em> Daniel Landin,</em> <a href="http://ayearinfilm.blogspot.com/2014/04/review-under-skin.html">Under the Skin</a></strong>
<em><br /> Tomm Moore</em>, Song of the Sea<br />
<em>Dick Pope</em>, Mr. Turner [Honorable Mention]<br />
<em>Robert D. Yeoman</em>, The Grand Budapest Hotel<br />
<em>Lukasz Zal & Ryszard Lenczewski</em>, Ida<br />
<br />
<strong>Best Costuming</strong> <br />
<em>Colleen Atwood</em>, <a href="http://ayearinfilm.blogspot.com/2015/01/review-into-woods.html">Into the Woods</a><br />
<em>Bob Buck, Lesley Burkes-Harding, & Ann Maskrey</em>; The Hobbit: The Battle of the Five Armies<br />
<strong><em>Milena Canonero</em>, The Grand Budapest Hotel</strong><br />
<em>Jacqueline Durran</em>, Mr. Turner<br />
<em>Charlotte Walter</em>, Pride<br />
<br />
<strong>Best Make-Up</strong> <br />
<em>Christine Blundell</em>, Mr. Turner<br />
<strong><em>Frances Hannon</em>, The Grand Budapest Hotel</strong><br />
<em>Paul Gooch & David White</em>, Maleficent<br />
<em>Peter King</em>, <a href="http://ayearinfilm.blogspot.com/2015/01/review-into-woods.html">Into the Woods</a><br />
<br />
<strong>Best Visual Effects</strong> <br />
Dawn of the Planet of the Apes<br />
Guardians of the Galaxy<br />
Interstellar<br />
<a href="http://ayearinfilm.blogspot.com/2015/01/review-into-woods.html">Into the Woods</a><br />
<strong><a href="http://ayearinfilm.blogspot.com/2014/04/review-under-skin.html">Under the Skin</a></strong> <br />
<br />
<strong>Best Original Score</strong> <br />
<em>Bruno Coulais & Kila</em>, Song of the Sea<br />
<em>Alexandre Desplat</em>; The Grand Budapest Hotel, The Imitation Game<br />
<strong><i>Justin Hurwitz,</i> <a href="http://ayearinfilm.blogspot.com/2014/12/review-whiplash.html">Whiplash</a></strong><br />
<i>Mica Levi,</i> <a href="http://ayearinfilm.blogspot.com/2014/04/review-under-skin.html">Under the Skin</a> <em><br />
Hans Zimmer</em>, Interstellar<br />
<br />
<strong>Best Original Song</strong> <br />
<b>"Everything Is Awesome" by <em>Jo Li</em>, The Lego Movie</b><br />
"Song of the Sea" by <em>Lisa Hannigan</em>, Song of the Sea<br />
<br />
<strong>Best Sound Editing</strong> <br />
<em>Jason Canovas</em>, The Hobbit: The Battle of the Five Armies<br />
<strong><em>Will Files & Douglas Murray</em>, Dawn of the Planet of the Apes</strong><br />
<em>Wayne Lemmer & Christopher Scarabosio</em>, The Grand Budapest Hotel<br />
<em>Alan Murray & Bub Asman</em>, American Sniper<br />
<br />
<strong>Best Sound Mixing</strong> <br />
<em>Christopher Boyes & Lora Hirschburg</em>, Guardians of the Galaxy<br />
<em>Johnnie Burn,</em> <a href="http://ayearinfilm.blogspot.com/2014/04/review-under-skin.html">Under the Skin</a> <br />
<em>Michael Keller & Mike Prestwood Smith</em>, <a href="http://ayearinfilm.blogspot.com/2015/01/review-into-woods.html">Into the Woods</a><br />
<strong><em>Gregg Landaker & Gary Rizzo</em>, Interstellar</strong>
<em>Craig Mann & Ben Wilkins</em>, <a href="http://ayearinfilm.blogspot.com/2014/12/review-whiplash.html">Whiplash</a><br />
<br />
<strong>Best Editing</strong> <br />
<em>Kirk Baxter</em>, Gone Girl<em><br />
Tom Cross</em>, <a href="http://ayearinfilm.blogspot.com/2014/12/review-whiplash.html">Whiplash</a><br />
<em>John Gilroy</em>, Nightcrawler<br />
<b><em>William Goldenberg</em>, The Imitation Game</b><br />
<em>Paul Watts,</em> <a href="http://ayearinfilm.blogspot.com/2014/04/review-under-skin.html">Under the Skin</a> <br />
<br />
<strong>Best Screenplay (Original)</strong> <br />
<em>Will Collins</em>, Song of the Sea<br />
<strong><em>Wes Anderson & Hugo Guinness</em>, The Grand Budapest Hotel</strong><br />
<em>Richard Linklater</em>, Boyhood<br />
<em>Mike Leigh</em>, Mr. Turner<br />
<em>Phil Lord & Christopher Miller</em>, The Lego Movie<br />
<br />
<strong>Best Screenplay (Adapted)</strong> <br />
<i>Walter Campbell & Jonathan Glazer,</i> <a href="http://ayearinfilm.blogspot.com/2014/04/review-under-skin.html">Under the Skin</a> <br />
<strong><em>Damien Chazelle</em>, <a href="http://ayearinfilm.blogspot.com/2014/12/review-whiplash.html">Whiplash</a></strong><br />
<em>Nick Hornby</em>, Wild<br />
<em>James Lapine</em>, <a href="http://ayearinfilm.blogspot.com/2015/01/review-into-woods.html">Into the Woods</a><br />
<br />
<strong>Best Animated Film (Feature-Length)</strong> <br />
The Lego Movie<br />
<strong>Song of the Sea</strong><br />
<strong><br /></strong>
<strong>Best Animated Film (Short)</strong> <br />
The Bigger Picture<br />
<strong>Feast</strong><br />
A Single Life<br />
<br />
<strong>Best Documentary Film (Feature-Length or Short)</strong> <br />
<strong>Finding Vivian Maier</strong><br />
<strong><br /></strong>
<strong>Best Foreign-Language Film (Live-Action or Animated, Feature-Length or Short)</strong> <br />
---<br />
Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-56209473395897347012015-01-14T22:16:00.001-05:002015-02-22T20:10:52.501-05:00The SpyGlasses Full: Official Nominations (2014)The following are my official nominations for the year in film 2014. As expected, I have not had the chance to see every film that ought to be considered in contention this year, so certain films such as <i>Fury</i> and <i>A Most Violent Year</i> may yet tweak these nominations in certain categories. With that said and without further ado:
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<br />
<table><tbody>
<tr> <td><strong>Best Film</strong> </td> </tr>
<tr> <td>The Grand Budapest Hotel<br />
Mr. Turner<br />
Song of the Sea<br />
<a href="http://ayearinfilm.blogspot.com/2014/12/review-whiplash.html">Whiplash</a> <br />
<a href="http://ayearinfilm.blogspot.com/2014/04/review-under-skin.html">Under the Skin</a></td> </tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Director</strong> </td> </tr>
<tr> <td><em>Wes Anderson</em>, The Grand Budapest Hotel <br />
<em>Damien Chazelle</em>, <a href="http://ayearinfilm.blogspot.com/2014/12/review-whiplash.html">Whiplash</a> <br />
<em>Jonathan Glazer</em>, <a href="http://ayearinfilm.blogspot.com/2014/04/review-under-skin.html">Under the Skin</a> <br />
<em>Alejandro González Iñárritu</em>, Birdman <br />
<em>Lasse Hallström</em>, The Hundred-Foot Journey</td>
</tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Actor</strong> </td> </tr>
<tr> <td><em>Benedict Cumberbatch</em>, The Imitation Game<br />
<em>Jake Gyllenhaal</em>, Nightcrawler<em><br />
Michael Keaton</em>, Birdman<br />
<em>Eddie Redmayne</em>, <a href="http://ayearinfilm.blogspot.com/2014/11/review-theory-of-everything.html">The Theory of Everything</a><br />
<em>Timothy Spall</em>, Mr. Turner</td>
</tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Actress</strong> </td> </tr>
<tr> <td><em>Jennifer Aniston</em>, Cake<br />
<em>Essie Davis</em>, The Babadook<br />
<em>Julianne Moore</em>, Still Alice<br />
<em>Rosamund Pike</em>, Gone Girl<br />
<em>Reese Witherspoon</em>, Wild</td>
</tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Supporting Actor</strong> </td> </tr>
<tr> <td><em>Ed Norton</em>, Birdman<br />
<em>Henry G. Sanders</em>, Selma<br />
<em>J. K. Simmons</em>, <a href="http://ayearinfilm.blogspot.com/2014/12/review-whiplash.html">Whiplash</a></td>
</tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Supporting Actress</strong> </td> </tr>
<tr> <td><em>Adriana Barraza</em>, Cake<br />
<em>Laura Dern</em>, Wild<br />
<em>Keira Knightley</em>, The Imitation Game<br />
<em>Lesley Manville</em>, Mr. Turner<br />
<em>Rene Russo</em>, Nightcrawler </td>
</tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Art Direction </strong> </td> </tr>
<tr> <td><em>Simon Bowles & Liz Griffiths</em>, Pride <em><br /> Suzie Davies & Charlotte Watts</em>, Mr. Turner <br />
<em>Dennis Gassner & Anna Pinnock</em>, <a href="http://ayearinfilm.blogspot.com/2015/01/review-into-woods.html">Into the Woods</a> <br />
<em>Adrien Merigeau</em>, Song of the Sea <em><br /> Adam Stockhausen & Anna Pinnock</em>, The Grand Budapest Hotel</td> </tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Cinematography</strong> </td> </tr>
<tr> <td><em> Daniel Landin,</em> <a href="http://ayearinfilm.blogspot.com/2014/04/review-under-skin.html">Under the Skin</a>
<em><br /> Tomm Moore</em>, Song of the Sea<br />
<em>Dick Pope</em>, Mr. Turner<br />
<em>Robert D. Yeoman</em>, The Grand Budapest Hotel<br />
<em>Lukasz Zal & Ryszard Lenczewski</em>, Ida</td> </tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Costuming</strong> </td> </tr>
<tr> <td><em>Colleen Atwood</em>, <a href="http://ayearinfilm.blogspot.com/2015/01/review-into-woods.html">Into the Woods</a><br />
<em>Bob Buck, Lesley Burkes-Harding, & Ann Maskrey</em>; The Hobbit: The Battle of the Five Armies<br />
<em>Milena Canonero</em>, The Grand Budapest Hotel<br />
<em>Jacqueline Durran</em>, Mr. Turner<br />
<em>Charlotte Walter</em>, Pride</td>
</tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Make-Up</strong> </td> </tr>
<tr> <td><em>Christine Blundell</em>, Mr. Turner<br />
<em>Frances Hannon</em>, The Grand Budapest Hotel<br />
<em>Paul Gooch & David White</em>, Maleficent<br />
<em>Peter King</em>, <a href="http://ayearinfilm.blogspot.com/2015/01/review-into-woods.html">Into the Woods</a></td>
</tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Visual Effects</strong> </td> </tr>
<tr> <td>Dawn of the Planet of the Apes<br />
Guardians of the Galaxy<br />
Interstellar<br />
<a href="http://ayearinfilm.blogspot.com/2015/01/review-into-woods.html">Into the Woods</a><br />
<a href="http://ayearinfilm.blogspot.com/2014/04/review-under-skin.html">Under the Skin</a> </td>
</tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Original Score</strong> </td> </tr>
<tr> <td><em>Bruno Coulais & Kila</em>, Song of the Sea<br />
<em>Alexandre Desplat</em>; The Grand Budapest Hotel, The Imitation Game<br />
<i>Justin Hurwitz,</i> <a href="http://ayearinfilm.blogspot.com/2014/12/review-whiplash.html">Whiplash</a><br />
<i>Mica Levi,</i> <a href="http://ayearinfilm.blogspot.com/2014/04/review-under-skin.html">Under the Skin</a> <em><br />
Hans Zimmer</em>, Interstellar</td>
</tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Original Song</strong> </td> </tr>
<tr> <td>"Everything Is Awesome" by <em>Jo Li</em>, The Lego Movie<br />
"Song of the Sea" by <em>Lisa Hannigan</em>, Song of the Sea</td>
</tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Sound Editing</strong> </td> </tr>
<tr> <td><em>Jason Canovas</em>, The Hobbit: The Battle of the Five Armies<br />
<em>Will Files & Douglas Murray</em>, Dawn of the Planet of the Apes<br />
<em>Wayne Lemmer & Christopher Scarabosio</em>, The Grand Budapest Hotel<br />
<em>Alan Murray & Bub Asman</em>, American Sniper</td>
</tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Sound Mixing</strong> </td> </tr>
<tr> <td><em>Christopher Boyes & Lora Hirschburg</em>, Guardians of the Galaxy<br />
<em>Johnnie Burn,</em> <a href="http://ayearinfilm.blogspot.com/2014/04/review-under-skin.html">Under the Skin</a> <br />
<em>Michael Keller & Mike Prestwood Smith</em>, <a href="http://ayearinfilm.blogspot.com/2015/01/review-into-woods.html">Into the Woods</a><br />
<em>Gregg Landaker & Gary Rizzo</em>, Interstellar<br />
<em>Craig Mann & Ben Wilkins</em>, <a href="http://ayearinfilm.blogspot.com/2014/12/review-whiplash.html">Whiplash</a></td>
</tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Editing</strong> </td> </tr>
<tr> <td><em>Kirk Baxter</em>, Gone Girl<em><br />
Tom Cross</em>, <a href="http://ayearinfilm.blogspot.com/2014/12/review-whiplash.html">Whiplash</a><br />
<em>John Gilroy</em>, Nightcrawler<br />
<em>William Goldenberg</em>, The Imitation Game<br />
<em>Paul Watts,</em> <a href="http://ayearinfilm.blogspot.com/2014/04/review-under-skin.html">Under the Skin</a> </td>
</tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Screenplay (Original)</strong> </td> </tr>
<tr> <td><em>Will Collins</em>, Song of the Sea<br />
<em>Wes Anderson & Hugo Guinness</em>, The Grand Budapest Hotel<br />
<em>Richard Linklater</em>, Boyhood<br />
<em>Mike Leigh</em>, Mr. Turner<br />
<em>Phil Lord & Christopher Miller</em>, The Lego Movie</td>
</tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Screenplay (Adapted)</strong> </td> </tr>
<tr> <td><i>Walter Campbell & Jonathan Glazer,</i> <a href="http://ayearinfilm.blogspot.com/2014/04/review-under-skin.html">Under the Skin</a> <br />
<em>Damien Chazelle</em>, <a href="http://ayearinfilm.blogspot.com/2014/12/review-whiplash.html">Whiplash</a><br />
<em>Nick Hornby</em>, Wild<br />
<em>James Lapine</em>, <a href="http://ayearinfilm.blogspot.com/2015/01/review-into-woods.html">Into the Woods</a></td>
</tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Animated Film (Feature-Length)</strong> </td> </tr>
<tr> <td>The Lego Movie<br />
Song of the Sea</td>
</tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Animated Film (Short)</strong> </td> </tr>
<tr> <td>The Bigger Picture<br />
Feast<br />
A Single Life</td> </tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Documentary Film (Feature-Length or Short)</strong> </td> </tr>
<tr> <td>Finding Vivian Maier</td> </tr>
<tr> <td></td> </tr>
<tr> <td><strong>Best Foreign-Language Film (Live-Action or Animated, Feature-Length or Short)</strong> </td> </tr>
<tr> <td>---</td> </tr>
<tr> <td></td> </tr>
</tbody></table>Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-31466309651087168512015-01-14T20:31:00.002-05:002015-01-14T20:32:03.979-05:00Review: Into the Woods<div class="separator" style="clear: both; text-align: center;">
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I wish to have the curse reversed; remove from this piece the blight of one Robert Marshall, muddier of waters, sallower of songs, and extinguisher of comedies.<br />
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<i>Into the Woods</i>, Mr. Sondheim's most fecund piece, was not meanly adapted for the screen, but in being put there certainly expended some of its most precious resource, in his music and words. While Mr. Marshall's quavering hand managed to coax in a few fine moments, they composed the minority amidst a series of blanched others. Mr. Depp's one song, "Hello, Little Girl", and the princes' duet, "Agony" — both challenging, comedic, and lusty songs — were stripped of their verve, joke after pun lost on the audience, whose members at least in my company did not laugh there (or in many other places where they should). No, rather, the material felt a bit dull escaping those three actors' lips. Now, partially this fault is the actors'; Mr. Depp especially ought know better than to subdue himself entirely, when the song calls for more than the final burst of want. However, ultimately one must lay this fault at the feet of the director, for it is his and no one's else, the charge of bringing his actors to that point where the story is well told and its meaning well expressed.<br />
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Ms. Kendrick alone, revealing her Broadway training, managed to feel her way through the songs with independent intuition — though, it must be said, Ms. Streep's natural talent did guide her cleanly through most of her numbers. A similar appendum may be offered for Mr. Corden, whom this blog has not rightly seen since <i>The History Boys</i> (2006) and who has his own <a href="http://en.wikipedia.org/wiki/Tony_Award_for_Best_Actor_in_a_Play">Broadway accolade</a> to his credit.<br />
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The heart of the piece, however, beat erratically in the insufficiently wised Ms. Blunt, a striving but ultimately shortfalling Baker's Wife. Though to her credit her performance was better than I had expected it to be, it still ultimately left me wanting that thinness but cleverness of mind and feeling which, say, Tony Award winner Joanna Gleason had breathed into the role in its début; for Ms. Blunt too let jokes fall flat and emotions generally run off track when she wasn't paying well enough attention to the path before her.<br />
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Though I confess I was not raving, "Out of the woods! Let me out of the woods!", by film's end I was relieved to find that no more time remained for Mr. Marshall to risk fumbling.
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Grade: B/B-, beautiful to see at times but choppy like the sea throughout.Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-85006019542741929142014-12-13T01:54:00.000-05:002014-12-13T01:54:02.369-05:00Review: Whiplash<div class="separator" style="clear: both; text-align: center;">
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Genre: Drama
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What a thrill to see J.K. Simmons be given the length to stride full-swing in this his most recent feature, a new piece by new director, Damien Chazelle. <i>Whiplash</i> works off the model most popularized by last decade's Summer box office hit <i>The Devil Wears Prada</i> (2006); an imperious, supercilious mentor professionally imprisons a young hopeful with a certain flair and ambition in a cell of his own making and there, by callous conduct, smarts the upstart into learning a thing or two about not only himself but also his direction. However, unlike its predecessor, this film does not suffer from an embarrassing imbalance in performances; no, here the actor portraying the upstart holds his own against the would-be tyranny of excellence across from him, in the almost possessed figure hewn by Mr. Simmons (Ms. Streep in the aforementioned). Indeed, Mr. Teller, a new actor of increasing note of late, delivers an in all respects good performance; bittered but not brittled, starved but not starving, at times raving but never risk-seeking, the central performance of this film makes the ingenu a bleeding reality, unlike the surreality of clichés and choreographed imperfections seen elsewhere. Still, that Mr. Simmons is the star of this show can be no secret; stormy and snide, a paragon of cutting menace almost eerie in its alternating placor, the mentor whom he verves verges on the ecstatic, but like the music he adores and rules so fervently never topples, no matter how severe the spin. Bravo, sir; bravo.<br />
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And, as for the work of Mr. Chazelle, to know when to hold and when to unleash with a tidal storm like what he had in his hands is akin to his character's knowing whether he be rushing or lagging: hair's breadth to the average, stunning to the expert.<br />
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The praise, however, must not escape note of the man's writing. This screenplay is a clean and simple, focused(!) investigation of a dialectic centuries old, an investigation that still layers on a beautiful novelty to it.<br />
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Grade: A-, bonsai.Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-76221684883054954792014-11-30T10:56:00.002-05:002014-11-30T10:57:35.776-05:00Review: The Theory of Everything<br />
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Genre: Drama (Biopic)<br />
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It's not often that I see a promising film about a brilliantly interesting person become a weak treatise on a social issue still ahead of its time. For this — and almost only this — character, <i>The Theory of Everything</i>, the new film by documentary director James Marsh, is a piece worth seeing.<br />
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<span id="fullpost">The film charts a rather linear biography, nothing new in terms of dramatic structure or even dramatic content, the protagonist struggling slowly with a physical decline as blossoming slowly on a mental incline all the while vying his generally swelling interests against those of his nearest and dearest — it's a perfect idea of genius as constructed and explored already (to varying degrees of success) by such films as <i>The Aviator</i> (Scorcese, 2004), <i>Frida</i> (Taymor, 2002), <i>Jobs</i> (Stern, 2013), and most relevantly here <i>A Beautiful Mind</i> (Howard, 2002) — and, while films like <i>Frida</i> and <i>The Aviator</i> have capably broken their material confines in order to relate and resonate the ineffable inherent in their stories — Taymor, for instance, by wondrous <i>tableaux vivants</i> and Scorcese, for instance, by hypercolor and sequential collages — films like <i>Jobs</i> and this new feature flop around ineffectively within the bounds of the material world within which they exist, consequently never demonstrating in so many frames the advancing genius that they nevertheless attest to portray. Take for example here an early scene, in which the young Hawking first perceives inspiration in the swirl of milk in his train-served coffee. There, the mechanism is, honestly, entirely boring; we the audience never feel as though we're leaving the quotidian meanness of the train on a pathway to delightful, groundbreaking work in the physics. Rather, we stick, bereft of the ineffable, in the simple porcelain pool outside our character's mind, still thus impermeable to us despite Mr. Redmayne's valiant attempts to communicate with us. Other instances of similar tenor fleck the arc of the plot of this film, the worst of which instances chars the serious romantic entanglements of the films' characters with almost flippant crescendo akin to that "flavoring" such modern melodramas as <i>Twilight</i> (Hardwicke, 2008) and <i>The Notebook</i> (Cassavetes, 2004) and the best of which instances (i.e., a simple fireplace shot through a sweater) only approximates the useful perceptual abstractions successful elsewhere. Overall, in this way, the film leaves more on the table than it ever should have and makes banal an otherwise drastically interesting story of a man who has contributed significant insights to the scientific canon.</span><br />
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Additionally, the film suffers from a split interest, a burden beset by the screenplay and unresolved by the director. While it proclaims throughout that it is indeed a biopic of the now standard form, it also bakes in the background a potentially powerful philosophical debate on a modern issue so new to popular discourse in cinema, that it has yet really to be discussed in such a mainstream vehicle: polyamory. Though it never outright addresses this lurker behind the scenes, the film constructs a narrative such that all roads lead to Rome (so to speak); the trials and questions in their romantic entanglements, previously referenced here, present the central characters, Stephen Hawking and Jane Hawking (née Wild), as multifaceted people both in need of support so ordinarily human that it's almost dull and yet in straits of being only partially able to provide that support to one another themselves alone. Their status, in short, is the classic recipe for a polyamor's solution to life: If one cannot for whatever reason find complete fulfillment in the promise of a single mate — and, perhaps, it would be nigh impossible for anyone to expect to do so, she thinks — then it is only meet for one to find complete fulfillment in a multiplicity of partners, only by a little stretch of imagination different in terms from the friends that conventionally monogamous couples retain or even newly make for reasons of social and emotional intimacy. Yet, because the film leaves this would-be marvel on the back-burner in refusing to court perspectives other than the ruling shaming of conventional society at large, this secondary interest of the film withers and then dies, leaving a corpse of a beauty looming as a burning pall in the background — and the black smoke only distracts and detracts.<br />
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Now, at the top of this review I said that this disenfranchised treatise is weakly <strong>almost</strong> the singular redeeming feature of this otherwise stiff as a board biography. So, it would be remiss for me to close this review without giving due mention to Mr. Redmayne, who reproves why he is a Tony-Award winner in this film. His performance of Hawking is limited by definition, but manages to turn these limitations into assets as he finds confidence within the constrictures of his physical form. What is important and demonstrates this fact is that he never lets the signals of his failing body, however heavy-handedly they were photographed by the other filmmakers, be the entirety of his condition nor even the focus of his action; instead, they are only punctuations of the major story that his body is telling, even at its later stages. While this performance is certainly not at the maximum it could have achieved, it is still one shining part of this work — and, likely, the only major part that will receive recognition from awarding bodies at the year's end.<br />
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Grade: C-, stale.<br />
</span>Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-6414547066061300052014-05-19T09:23:00.001-04:002014-05-19T09:23:33.202-04:00Trailer: Mr. Turner<iframe allowfullscreen="" frameborder="0" height="276" src="//www.youtube.com/embed/Tn4zSR_5ioI?rel=0" width="490"></iframe>Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-90678052175271340802014-04-29T14:43:00.000-04:002015-01-15T14:22:07.696-05:00Review: Under the Skin<div class="separator" style="clear: both; text-align: center;">
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Genre: Drama (Thriller)
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Jonathan Glazer pierces the veil and infuses possibility into black in his new film, the hauntingly emotive <i>Under the Skin</i>, featuring established ingenue Scarlett Johansson as protagonist succubus, charged with sexual and coquettish power to lure stray men into being dissolved of essences. The content of the film, then — sure — is a trying push at mainstream narratives — and, insofar as that push disturbs a subset of viewers, I am not interested. I am interested in, rather, how that push comments on filmmaking as an art itself; for Mr. Glazer's pinnacular achievement in this newest film is not that he can push some audience members' buttons (indeed, several fellow viewers walked out of the theater in which I saw the film while we were there) but instead that he can so competently and elegantly craft a viewer's experience that quietly subverts and eventually disturbs the central core of the viewer and simultaneously reëstablishes the storyteller's devices in his or her mind. He advances.
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A prime example of this advancement is in his use of the color black in the film. Never have I before seen black used in such a way to such effect as those in this film. Black is typically the color of void, of nothing, of death and emptiness; here, however, black is the color of possibility. Early in the film Mr. Glazer meditates on black, a lingering mass over the frame sculpted via chiaroscuro with scythes of light, before ever letting form take over. This meditation is sufficiently long, to redefine black as a tool and element, as an instrument; the length, like the length of terminological discussion at the beginning of any verbal treatise, entails redefinition of previously commonplace ideas, so that we know that black is not simply the evacuated after-effect of the defaultedly primary instrument, light, but is instead more interestingly now the primary instrument itself, a crafter and not the crafted. This reading of his visual text is born out in several ways, but namely in how his characters and plotting points emerge all from it slowly and deliberately: Early in the film, a woman is carried up from a ravine by a male character, who has slung her over his shoulder. Neither person is visible to the audience until they together emerge from the blackness; the light does not make them, but rather is a filtration of the all encompassing black from which they just emerged. In the blackness, in the ether, they and all things existed and it was then and there that the director chose to draw them forth in order to describe his message. This inversion of the typical nature of basic binary color, light vs. black, is a tremendous achievement of a filmmaker who is no stranger to dramatic exploration and physical intensity (see, for example, his previous film <i>Birth</i> [2004]). To say that I was impressed smacks of understatement; I came to quickly understand far more about the devices of filmmaking than I had known before the viewing.
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On that point alone this film would merit recognition. However, it is not simply artistic or narrative craftiness that recommends this film; additionally, the use of the instrument to follow through the delivery of a necessarily visceral tale is just elegant. Though at times the craftsmanship is perhaps bulkier than it could be, the capitalization on the redefinition of color throughout the film is wondrous. I am thinking now clearly of one exemplary shot as an example: the camera's hovering behind Ms. Johansson's head and there fixated on her hair, many strands exactingly filamented from the darkness surrounding them — a unitary conceit of what works in the entire film. How many strands are dependent and intertwined from one rounded origin and how easily few stray and blow in the breeze, them seduced by the gentle caresses of seemingly errant breezes operating noiselessly and invisibly in the atmosphere around, to coax and extract from the mass just several and, if done properly, not disturb the lot while doing so; how fitting the roundness to be but a superficial covering of control and thought and dream — the brain — in everyone and of beauty and strangeness in her in particular; and how investigative the careful juxtaposition of such layered lines in narration I cannot say enough. Cinematographer Daniel Landin, editor Paul Watts, and director Mr. Glazer all have done great work here.
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The film is finally to be recognized for its commensurately beautiful sound design. Mica Levi's dissonant score and Johnnie Burn's precise sound design set the visual content of the film off in brilliant and startling relief against the reality of the viewer's world, where commonplace quietudes interspliced among jagged music prickle hairs.
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Overall, while not perfect, this film is a strong strong addition to the filmic canon of this era — one that I would be sad to have missed.
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Grade: A-, bravo!Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-83918594699374477852014-03-02T20:24:00.001-05:002014-03-02T20:26:05.909-05:00The SpyGlasses Full: Official Winners (2013)<span class="Apple-style-span" style="display: inline; font-family: Georgia, Times, serif; font-size: 13px; line-height: 19px;"><span style="background-color: #444444; color: #f3f3f3;">Winners are below in<span style="font-weight: bold;"> bold.</span></span></span><br />
<span class="Apple-style-span" style="display: inline; font-family: Georgia, Times, serif; font-size: 13px; line-height: 19px;"><span style="background-color: #444444; color: #f3f3f3;"><span style="font-weight: bold;"><br /></span></span></span>
<span class="Apple-style-span" id="fullpost" style="display: inline; font-family: Georgia, Times, serif; font-size: 13px; line-height: 19px;"><span style="background-color: #444444; color: #f3f3f3;"><span style="font-weight: bold;">Best Live-Action Film (Feature-Length)</span><br />12 Years a Slave</span></span><br />
<a href="http://ayearinfilm.blogspot.com/2013/08/review-blue-jasmine.html" style="background-color: #444444; font-family: Georgia, Times, serif; font-size: 13px; line-height: 19px; text-decoration: none;">Blue Jasmine</a><br />
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<span style="background-color: #444444; color: #f3f3f3; font-size: 13px;"><a href="http://ayearinfilm.blogspot.com/2014/01/review-her.html" style="text-decoration: none;">Her</a><br />Oslo, 31. August</span><br />
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<span style="background-color: #444444; color: #f3f3f3;"><b>La Vie d'Adèle (Blue Is the Warmest Color)</b><br /><br /><span style="font-weight: bold;">Best Director</span><br /><i>Woody Allen,</i> <a href="http://ayearinfilm.blogspot.com/2013/08/review-blue-jasmine.html" style="text-decoration: none;">Blue Jasmine</a></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Stephen Frears,</i> <a href="http://ayearinfilm.blogspot.com/2013/12/review-philomena.html" style="text-decoration: none;">Philomena</a><br /><i>Paul Greengrass,</i> Captain Phillips</span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Spike Jonze, </i><a href="http://ayearinfilm.blogspot.com/2014/01/review-her.html" style="text-decoration: none;">Her</a></span></div>
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<span style="color: #f3f3f3;"><b style="background-color: #444444;"><i>Abdellatif Kechiche,</i> La Vie d'Adèle (Blue Is the Warmest Color)</b></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><br /><span style="font-weight: bold;">Best Actor</span></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Leonardo DiCaprio,</i> <a href="http://ayearinfilm.blogspot.com/2013/12/review-wolf-of-wall-street.html" style="text-decoration: none;">The Wolf of Wall Street</a></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Chiwetel Ejiofor,</i> 12 Years a Slave</span></div>
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<span style="color: #f3f3f3;"><b style="background-color: #444444;"><i>Tom Hanks,</i> Captain Phillips</b></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Anders Danielsen Lie,</i> Oslo, 31. August</span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Joaquin Phoenix, </i><a href="http://ayearinfilm.blogspot.com/2014/01/review-her.html" style="text-decoration: none;">Her</a></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><br /><span style="font-weight: bold;">Best Actress</span></span></div>
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<span style="color: #f3f3f3;"><b style="background-color: #444444;"><i>Cate Blanchett,</i> <a href="http://ayearinfilm.blogspot.com/2013/08/review-blue-jasmine.html" style="text-decoration: none;">Blue Jasmine</a></b></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Judi Dench</i><i>, </i><a href="http://ayearinfilm.blogspot.com/2013/12/review-philomena.html" style="text-decoration: none;">Philomena</a></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Adèle Exarchopoulos,</i> La Vie d'Adèle (Blue Is the Warmest Color)</span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Meryl Streep,</i> August: Osage County</span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><br /><span style="font-weight: bold;">Best Supporting Actor</span><br /><i>Emory Cohen,</i> The Place beyond the Pines</span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Michael Fassbender,</i> 12 Years a Slave</span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>James Franco, </i>Spring Breakers</span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Jonah Hill,</i> <a href="http://ayearinfilm.blogspot.com/2013/12/review-wolf-of-wall-street.html" style="text-decoration: none;">The Wolf of Wall Street</a></span></div>
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<span style="background-color: #444444;"><span style="color: #f3f3f3;"><i><b>Salim Kechiouche, </b></i></span><span style="color: #f3f3f3;"><b>La Vie d'Adèle (Blue Is the Warmest Color)</b></span></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><br /><span style="font-weight: bold;">Best Supporting Actress</span><br /><i>Sally Hawkins,</i> <a href="http://ayearinfilm.blogspot.com/2013/08/review-blue-jasmine.html" style="text-decoration: none;">Blue Jasmine</a></span></div>
<div style="font-size: 13px;">
<span style="background-color: #444444; color: #f3f3f3;"><b><i>Scarlett Johansson;</i> Don Jon, <a href="http://ayearinfilm.blogspot.com/2014/01/review-her.html" style="text-decoration: none;">Her</a></b><br /><i>Carey Mulligan,</i> Inside Llewyn Davis</span></div>
<div style="font-size: 13px;">
<span style="background-color: #444444; color: #f3f3f3;"><i>Lupita Nyong'o,</i> 12 Years a Slave</span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Octavia Spencer,</i> Fruitvale Station<br /><br /><br /><span style="font-weight: bold;">Best Art Direction</span><br /><i>Hannah Beachler & Kris Boxell, </i>Fruitvale Station<br /><i>Judy Becker, Jesse Rosenthal, & Heather Loeffler; </i>American Hustle</span></div>
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<span style="background-color: #444444;"><i style="color: #f3f3f3;">Andy Nicholson, Mark Scruton, & Rosie Goodwin; </i><span style="color: #f3f3f3;">Gra</span><span style="color: #f3f3f3;">vity</span></span></div>
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<span style="color: #f3f3f3;"><b style="background-color: #444444;"><i>Adam Stockhausen, David Stein, & Alice Baker;</i> 12 Years a Slave</b></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Justin Thompson & David Bleich,</i> Cloudy with a Chance of Meatballs 2<br /><br /><span style="font-weight: bold;">Best Cinematography</span></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Luca Bigazzi, </i><a href="http://ayearinfilm.blogspot.com/2014/01/review-la-grande-belleza-great-beauty.html" style="text-decoration: none;">La Grande Bellezza (The Great Beauty)</a></span></div>
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<b style="background-color: #444444;"><span style="color: #f3f3f3;"><i>Sofian El Fani,</i> </span><span style="color: #f3f3f3;">La Vie d'Adèle (Blue Is the Warmest Color)</span></b></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Jakob Ihre,</i> Oslo, 31. August</span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Emmanuel Lubezki, </i>Gravity</span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Hoyte van Hoytema, </i><a href="http://ayearinfilm.blogspot.com/2014/01/review-her.html" style="text-decoration: none;">Her</a></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><br /><span style="font-weight: bold;">Best Costuming</span></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Catherine Martin, </i>The Great Gatsby</span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Patricia Norris,</i> 12 Years a Slave</span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Sandy Powell,</i> <a href="http://ayearinfilm.blogspot.com/2013/12/review-wolf-of-wall-street.html" style="text-decoration: none;">The Wolf of Wall Street</a></span></div>
<div style="font-size: 13px;">
<span style="background-color: #444444; color: #f3f3f3;"><i>Trish Summerville, </i>The Hunger Games: Catching Fire</span></div>
<div style="font-size: 13px;">
<span style="color: #f3f3f3;"><b style="background-color: #444444;"><i>Michael Wilkinson, </i>American Hustle</b></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><br /><span style="font-weight: bold;">Best Make-Up</span><br /><i>Mindy Hall,</i> <a href="http://ayearinfilm.blogspot.com/2013/12/review-wolf-of-wall-street.html" style="text-decoration: none;">The Wolf of Wall Street</a></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Peter King, Rick Findlater, & Tami Lane;</i> The Hobbit: The Desolation of Smaug</span></div>
<div style="font-size: 13px;">
<span style="color: #f3f3f3;"><b style="background-color: #444444;"><i>Ve Neill & Linda D. Flowers, </i>The Hunger Games: Catching Fire</b></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i style="font-size: 13px;">Evelyne Noraz & Kathrine Gordon, </i><span style="font-size: x-small;">American Hustle</span><br /><br /><span style="font-size: 13px; font-weight: bold;">Best Visual Effects</span></span></div>
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<span style="color: #f3f3f3; font-size: 13px;"><b style="background-color: #444444;">Gravity</b></span></div>
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<span style="background-color: #444444; color: #f3f3f3; font-size: 13px;">The Hobbit: The Desolation of Smaug</span></div>
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<span style="background-color: #444444; color: #f3f3f3;">Oz, the Great and Powerful<br /><br /><br /><span style="font-weight: bold;">Best Original Score</span><br /><i>Carter Burwell, </i>The Fifth Estate</span></div>
<div style="font-size: 13px;">
<span style="color: #f3f3f3;"><b style="background-color: #444444;"><i>Arcade Fire & Owen Pallett, </i><a href="http://ayearinfilm.blogspot.com/2014/01/review-her.html" style="text-decoration: none;">Her</a></b></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Danny Elfman; </i>Oz, the Great and Powerful & American Hustle</span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Henry Jackman, </i>Captain Phillips</span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><br /><span style="font-weight: bold;">Best Original Song</span><br /><b>"Moon Song" by <i>Karen O. & Spike Jonze, </i><a href="http://ayearinfilm.blogspot.com/2014/01/review-her.html" style="text-decoration: none;">Her</a></b><i></i></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><br /><span style="font-weight: bold;">Best Sound Editing</span></span></div>
<div style="font-size: 13px;">
<span style="background-color: #444444;"><i style="color: #f3f3f3;">Brent Burge & Chris Ward,</i><span style="color: #f3f3f3;"> The H</span><span style="color: #f3f3f3;">obbit: The Desolation of Smaug</span></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Lisle Engle,</i> American Hustle</span></div>
<div style="font-size: 13px;">
<span style="color: #f3f3f3;"><b style="background-color: #444444;"><i>Glenn Freemantle,</i> Gravity</b></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Wylie Stateman, </i>Lone Survivor</span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Oliver Tarney, </i>Captain Phillips</span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><br /><span style="font-weight: bold;">Best Sound Mixing</span><br /><i>Chris Burdon, Chris Munro, Mike Prestwood Smith, & Mark Taylor;</i> Captain Phillips</span></div>
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<span style="color: #f3f3f3;"><b style="background-color: #444444;"><i>Niv Adiri, Christopher Benstead, Skip Lievsay, & Chris Munro; </i>Gravity</b></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Ren Klyce, David Parker, & Michael Semanick; </i><a href="http://ayearinfilm.blogspot.com/2014/01/review-her.html" style="text-decoration: none;">Her</a></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Andy Koyama, Beau Borders, & David Brownlow; </i>Lone Survivor</span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Skip Lievsay, Greg Orloff, & Peter Kurland;</i> Inside Llewyn Davis<br /><br /><br /><span style="font-weight: bold;">Best Editing</span></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Jeff Buchanan & Eric Zumbrunnen, </i><a href="http://ayearinfilm.blogspot.com/2014/01/review-her.html" style="text-decoration: none;">Her</a></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Claudia Castello & Michael P. Shawver,</i> Fruitvale Station</span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Alfonso Cuarón & Mark Sanger, </i>Gravity</span></div>
<div style="font-size: 13px;">
<span style="color: #f3f3f3;"><b style="background-color: #444444;">La Vie d'Adèle (Blue Is the Warmest Color)</b></span></div>
<div style="font-size: 13px;">
<span style="background-color: #444444; color: #f3f3f3;"><i>Joe Walker,</i> 12 Years a Slave<br /><br /><span style="font-weight: bold;">Best Screenplay (Original)</span><br /><b><i>Woody Allen,</i> <a href="http://ayearinfilm.blogspot.com/2013/08/review-blue-jasmine.html" style="text-decoration: none;">Blue Jasmine</a> (Honorable Mention)</b></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Joseph Gordon-Levitt,</i> Don Jon</span></div>
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<span style="color: #f3f3f3;"><b style="background-color: #444444;"><i>Spike Jonze, </i><a href="http://ayearinfilm.blogspot.com/2014/01/review-her.html" style="text-decoration: none;">Her</a> (Winner)</b></span></div>
<div style="font-size: 13px;">
<span style="background-color: #444444; color: #f3f3f3;"><i>Eric Singer & David O. Russell, </i>American Hustle<br /><br /><span style="font-weight: bold;">Best Screenplay (Adapted)</span><br /><b><i>Steve Coogan & Jeff Pope</i><i>,</i> <a href="http://ayearinfilm.blogspot.com/2013/12/review-philomena.html" style="text-decoration: none;">Philomena</a></b></span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Ryan Coogler,</i> Fruitvale Station</span></div>
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<span style="background-color: #444444; color: #f3f3f3;"><i>Mitchell Kapner & David Lindsay-Abaire,</i> Oz, the Great and Powerful</span></div>
<div style="font-size: 13px;">
<span style="background-color: #444444;"><span style="color: #f3f3f3;"><i>Abdellatif Kechiche & Ghalia LaCroix,</i> </span><span style="color: #f3f3f3;">La Vie d'Adèle (Blue Is the Warmest Color)</span><span style="color: #f3f3f3;"><br /><i>Joachim Trier & Eskil Vogt,</i> Oslo, 31. August<br /><br /><span style="font-weight: bold;">Best Animated Film (Feature-Length)</span><br /><b>Cloudy with a Chance of Meatballs 2</b><br /><br /><span style="font-weight: bold;">Best Animated Film (Short)</span><br />(Not Given This Year)<br /><br /><span style="font-weight: bold;">Best Documentary Film (Feature-Length or Short)</span></span><span style="color: #f3f3f3;">(Not Given This Year)</span><span style="color: #f3f3f3;"><br /><br /><span style="font-weight: bold;">Best Foreign-Language Film (Live Action or Animated, Feature-Length or Short)</span><br /><a href="http://ayearinfilm.blogspot.com/2014/01/review-la-grande-belleza-great-beauty.html" style="text-decoration: none;">La Grande Bellezza (The Great Beauty)</a></span></span></div>
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<span style="background-color: #444444; color: #f3f3f3;">Oslo, 31. August</span></div>
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<span style="color: #f3f3f3;"><b style="background-color: #444444;">La Vie d'Adèle (Blue Is the Warmest Color)</b></span></div>
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Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-37856023716718725982014-01-19T20:47:00.001-05:002014-01-19T21:10:08.584-05:00Review: La Grande Bellezza (The Great Beauty)<img align="right" src="http://ia.media-imdb.com/images/M/MV5BMTQ2NDI1Mjc3OF5BMl5BanBnXkFtZTgwMzI3MDY1MDE@._V1_SX640_SY720_.jpg" width="490" />
Genre: Drama (Meditative)
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There is a great deal of what is true in <i>La Grande Bellezza</i> (<i><a href="http://www.criterion.com/films/28604-the-great-beauty">The Great Beauty</a></i>), Paolo Sorrentino's (palpably influenced) exploratory buffet of one man's particular experience in existential search of a singular gobbet of sustaining vision. Told in a retrospective soup — served <i>calda</i> — the film is impressive in its conjugation of so much of what one cannot underestimate as a panorama of instances, which not so carefully assembled would surely otherwise take the impression of a frivolous menagerie of curiosities sometimes provocative but mostly just lurid, even if manicured. What a viewer then should expect to receive from the film is not any truth himself or herself, but a strong sense of appreciation of something so well tuned and crafted that it bears vivid verisimilitude to an actual experience — not <i>the</i> experience, mind you — of trying. Is that experience what the film terms "The Great Beauty"? If so, then it is more lost than I am giving it credit for being; if not, then <i>fiat ars</i>.
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Grade: A-
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P. S. Woe to you, viewer who still "distinguish" 'high' from 'low.'Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-50123744440637203152014-01-11T21:56:00.002-05:002014-01-11T21:56:51.243-05:00Review: Her<div style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;">
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That Joaquin Phoenix is striding in his prime is the least of the excellences that grace any audience savvy enough to visit Mr. Jonze's newest feature, <i>Her</i>, an elegant bastion of the verve behind the dynamic intersection among psychological science, computer science, and philosophy. Mr. Jonze views and portrays a future nuancedly real (and, purposely for counterbalance, quirky; see those tailored waistlines) for us spectators to warmly inhabit yet feel diaphanously separate from. The sun strokes and lens flares that festoon (<a href="http://ayearinfilm.blogspot.com/2009/02/spyglasses-full-2008-official-winners.html">previous SpyGlass Full winner's</a>; see also <a href="http://ayearinfilm.blogspot.com/2009/01/on-cinematography-this-year.html">here</a>) Hoyte van Hoytema's imagery not simply paint pretty pictures but serve an adamantine purpose, making us spectators subconsciously aware of our own spectatorship, the fourth wall that divides us from the characters and preserves us — almost sterilely — from complete intoxication by the animus on the screen, a brooding counterpart to the manic pixie dream girl (see <a href="http://en.wikipedia.org/wiki/Manic_pixie_dream_girl">here</a>) both borrowed from stock – true — but in the hands of Mr. Phoenix a relentlessly thorough and compassionately melancholy gentleman stumbling upon happiness in his small but vivid world. Misters Buchanan and Zumbrunnen's editing slices together the segments of his life with nanoscopic acuity, permitting an invasion of only reflections in any one otherwise linear scene; and the music, composed in parts by Arcade Fire, Karen O., and others, flavors special slices with a bitter sweetness or subtle ecstasy that captures what we know any idyllic dialogue between kindred consciousnesses is wont to be.
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Were any voting awards-granting body bolder, notes for all named parties so far would be clear, as well as one for Ms. Johansson, whose voice over is simply perfect: Like light through a prism, she is radiant beyond what anyone I think could expect from an actress put to such a challenge as this always disembodied yet always present character. It is almost troubling how affecting she is, completely absent from screen.
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Even what in other films would constitute a flaw, the predictable unidimensionality of the familiar "broken lovers" trope, here marks an asset, advancing the perhaps at one point insolvable tension of the plot to a natural conclusion; Theodore idly spars with his acerbic ex-wife as both evidence to growth and evidence of his growth's limitation: He is human; he must stumble on (taking solace in those familiar with — perhaps all too intimately — that terminal condition, a final thought that begs the perhaps trite but still interesting question, Who is she whom the title of the film names really anyway?, which I like the film leave open with intention here).
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Grade: A, rhapsodic.</div>
Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-50222995776320201042013-12-26T16:36:00.001-05:002013-12-26T16:36:32.331-05:00Review: The Wolf of Wall Street<div style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;">
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Genre: Comedy
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Halfway through <i>The Wolf of Wall Street</i> you, like I or really any theatergoer, may find yourself wondering whether you may have accidentally intruded into another theater, screening <i>Spring Breakers</i> instead of this new collaboration of Mr. Scorcese with Mr. DiCaprio; debauchery, I'll concisely say here and then be done with it, abounds and, in its abundance — spanning the smorgasbord of sex, drugs, and emotional outbursts — at first grounds but later undermines the skill of this new film. A story of trust among the rowdy, the film aspires to be a bit like '<i>Julius Caesar</i> [Shakespeare] meets <i>Marie Antoinette</i> [Coppola, 2006] featuring a male protagonist circa <i>Wall Street</i> [Stone, 1987] and beyond ' but fails to really sew together those far-flung patches of narrative filmmaking. Odds preponderate evens and, like Virginia Madsen's character in <i>Sideways</i> (Payne, 2006), I have to conclude, "Too much alcohol overwhelms the fruit."
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Now, my dismay is not to say that all aspects of the film are lacking; surely, high-flying features like Sandy Powell's costuming, Jonah Hill's supporting performance, and Mindy Hall's make-up and hairstyling redeemed what otherwise may appear indifferent from a more mature and certainly more highly financed version of <i>Project X</i> (Nourizadeh, 2012). The verisimilitude that Ms. Powell and Ms. Hall imbue into the characters on screen takes after not only their eras and stations but also their emotional appeals in both comedic and dramatic fashions; a lavender crushed-velveteen belt on an infuriated cursing power broker cleverly snickers at the pretension of the fight that he foments, while a pristinely white polo underscores the protagonist's bid at being an upstanding, fiercely moral man. And Mr. Hill simply lives the part that he plays, with pugnacious honesty; like some of the best performances I've seen this year, his turn as the compatriotic <i>bon homme</i> and fuel tank to many a fire cultivates even at the wrists a thorough understanding of what in far less adroit hands could have been a meagerly sinister or even fecklessly foppish sidekick. However, these pieces alone truly shone here.
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Regarding Mr. DiCaprio, whose own performance I've yet to mention here despite its being the centerpiece of this voracious enterprise, I must demur; pronouncements of excellence — though perhaps predictively accurate of his to-be-determined end-of-awards'-season accolades — feel overly generous to me. True, he does stretch his muscles over quite the range of emotional plot points and, true, he does offer some wonderful episodes in this film; yet, true also, to shout and cavort recklessly through scene after scene doesn't really press a thespian for his talents and, true also, to ride a rollercoaster doesn't make one a master engineer. Perhaps the fault, dear Leo, is not in the star but in the screenplay; perhaps the rather lumpy writing of non-film-veteran Terrence Winters ceases to allow any actor beyond adequacy in completing the realization of this quasi-real man. Even still, to lay in these shortcomings is to inhabit them and to inhabit them, to own them; falling into the potholes on the road lain before one is shoddy driving. Flirting with innocence at the film's beginning, Mr. DiCaprio doesn't really convince of what his lines suggest is his character's otherwise impeccably shiny youth and related exuberance, even though he does hammer down the awkward sheepishness of a minor public spectacle on one's first day. Stumbling through benders in the film's middle, Mr. DiCaprio doesn't really delve into the longer-term motivations of his character, even though from an script reader's perspective the character has no longer-term vision than that of the next few hours. Finally, mellowing in abnegation at the film's end, Mr. DiCaprio doesn't really exude contempt for his character's lawful remission, contempt that even a cursory script reader knows must be there. Mr. DiCaprio is here but a prince, not yet a king.
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The only remaining comment that I can and will make at this time is that, to close the film with a somewhat oblique panegyric hearkening back to the earliest scenes but bestowing the spectatorship not on the audience again but rather on some extras against the audience anew is threatening storytelling at best, Mr. Scorcese. Don't misunderstand, reader; I am all for passive complicity with less than ideal characters. However, here to transform a specimen that you've until this close handled with mystified gloves into an icon of demonstrated admiration is to (attempt to) wrest opinion from the minds of your viewers and inject into its place preformulated and campaigning artifacts. Yes, we include the people whom the real-world counterpart of this fictionalized protagonist lured and deluded and, yes, we all — not simply those deludables — should be drawn to acknowledge that fact; but, no, under no circumstances is our acknowledgement to be a broad indictment of our our predictable gapishness and mawkery (both <i>sic</i> on purpose). The lingering question that you effectually propose is a finger in the eye of the viewer, Mr. Scorcese; I'd urge you to have reconsidered that finale. (Otherwise, your work was fine in every respect.)
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Grade: B-.
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Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-80150565987026556342013-12-18T23:16:00.001-05:002014-01-11T22:30:22.433-05:00Review: PhilomenaGenre: Drama<br />
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Director Stephen Frears seems to hit well when featuring the grand dames in his films. Three films are certainly only scant evidence of a pattern, but the salience of his <i>The Queen</i> (2007) and <i>Mrs. Henderson Presents</i> (2005) when it be allowed to be coupled with the quality of their younger American siblings <i>Dangerous Liaïsons</i> (1988; featuring Glenn Close) and <i>The Grifters</i> (1990; featuring Anjelica Huston) admits a winking trend toward artfulness within this particular dramatic plane. Better than their past collaboration, (I'll call it) Mr. Frears and Dame Dench's <i>Philomena</i> is a wonderfully coaxed description of a classic dialogue: that between commanded virtue and cured ethicality.</div>
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To say that the pairing here breaks new ground would, not surprisingly, be an overstatement; the film walks no lines that have not seen considered — carefully even — elsewhere (see this year's <i>Hannah Arendt</i> for example). However, the film does shine in the same way as, though not to the same extent, as, say, <i><a href="http://ayearinfilm.blogspot.com/2011/06/review-tree-of-life.html%E2%80%8E">The Tree of Life</a></i> (2011) did; it hums a new vibrancy into the old bones that it resurrects (in good condition) and invests passion, fortitude, and accessibility where there may not have been before in describing its exchange. That the unfolding of the narrative envelopes not merely history personal and social, emotions on screen and behind it, and contentions political and theological but moreover comedy honest and quotidian, taxes interpersonal and individual, and a thorough thread of intertemporal disconnection speaks to its intelligence. The film thus understands that the dialogue in instances lives and may be investigated, changed, and resolved within actual people and their interactions (or lacks thereof). We see, for example, the simplicity of its eponymous character's ways, heaping in one scene croutons from a salad bar upon her plate for her delight, counterpoised by her wiles, frankly and coolly acknowledging bi-curiosity or clitoral stimulation in another scene. Such an artful counterposition is revealing; the character upends expectations yet breaks no lines, at once encompasses social change and (at least at one time and in one place) highly contended moral issues and submits under minimal delectations and elementary cues. She is Shakespearean in this way — the play is; it makes no pardons for its academic aspirations (though it may smart them on the side of their conscientious head at times) but also connives to jibe with the common crowd — explicitly sometimes. The film therefore succeeds most excellently where it began: in its screenplay itself. Writers Steve Coogan and Jeff Pope — and not surprisingly actress Judi Dench — are to be most congratulated for expressing most clearly a complex conceit. <br />
<br />Ultimately, while we as the audience know that this conceit can never achieve a resounding or clear resolution — an issue that the screenplay in passing itself points out to comic effect — we nevertheless arrive farther along than where we began, armed with more intellectual substance for our own positions than we'd possessed at our independent starts. Learning then is the stuff of film-making here.
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Grade: A-/B+, well done.
</span></div>
Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-23897238752493600582013-08-31T00:36:00.002-04:002013-08-31T00:36:58.021-04:00Review: Blue Jasmine<div style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;">
<img src="http://www.sonyclassics.com/bluejasmine/images/gallery/thumbs/1.jpg" /></div>
Genre: Drama
<br />
<br />
<div>
Mr. Allen breaks new ground with this dense dense screenplay, following a character almost impossibly rich and perfectly played by Ms. Blanchett. Both appear to be at the heights of their crafts, he wielder of dialogue and interactions so complexly woven and steeped in the traditions of great intimate writing (e.g., Williams' <i>A Streetcar Named Desire</i>, 1974; his own <i>Hannah and Her Sisters</i>, 1986) that to misplace any piece would be to fumble a glass chalice and she a paragon of control and expressiveness, furnishing even the smallest clip or aside with just buckets of depth and feeling. They are a wonder together and form what may be the tightest pairing of character with actor that I've seen in years.</div>
<br />
<a href="javascript:expandcollapse('nominees')">Click to read more.</a>
<br />
<div>
<span class="posthidden" id="nominees">
Ms. Hawkins also provides an excellent foil to her character's sister (Ms. Blanchett's role); her quirk and winsomeness are a sincere match to Jasmine's pressure and poise. Mr. Canavale does his role due justice, though falls well short of spectacle, as similarly do Mr. Baldwin, Mr. Stuhlbarg, and Mr. Sarsgaard — all fine in their own respects but rough and unfinished in comparison with the women.
<br />
<br />
Beyond the actors and the writer/director, the film was dressed beautifully and so communicated that strong sense of place (that a film with this storyline needs) through variations of noise over signal — noise in terms of size, shape, and population of each space. Never did sparsity vs. affective clutter play so well alongside characters in strife.
<br />
<br />
I'll conclude this brief and glowing review with two final thoughts: (1) The film, while excellent, seemed a tad unsure of its ending, as I had thought that <i>Midnight in Paris</i> (Allen, 2011) had also; and (2) one can't see <a href="http://video.pbs.org/video/2365017836/">this clip</a> and not see parallels.
<br />
<br />
Grade: A
</span></div>
Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-16166120731947722552013-08-07T17:08:00.000-04:002013-08-07T17:08:06.534-04:00Trailer: Her<iframe allowfullscreen="" frameborder="0" height="276" src="//www.youtube.com/embed/VgTKUZEOP6E?hd=1" width="490"></iframe>Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-62126093738239715912013-07-21T07:34:00.003-04:002013-07-21T07:34:48.108-04:00Trailer: The Counselor<iframe allowfullscreen="" frameborder="0" height="276" src="//www.youtube.com/embed/pc3MCElwTtc" width="490"></iframe>Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-55303729306546146282013-05-23T09:52:00.002-04:002013-05-23T09:52:53.717-04:00Trailer: Don Jon<object height="276" width="490"><param name="movie" value="http://www.youtube.com/v/6615kYTpOSU?version=3&hl=en_US&rel=0"></param>
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<embed src="http://www.youtube.com/v/6615kYTpOSU?version=3&hl=en_US&rel=0" type="application/x-shockwave-flash" width="490" height="276" allowscriptaccess="always" allowfullscreen="true"></embed></object>Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-90677788111859956402013-03-15T08:52:00.002-04:002013-03-15T08:52:22.386-04:00Trailer: Something in the Air<object height="276" width="491"><param name="movie" value="http://www.youtube.com/v/Rw0hc7V6Yrc?hl=en_US&version=3&rel=0&hd=1"></param>
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<embed src="http://www.youtube.com/v/Rw0hc7V6Yrc?hl=en_US&version=3&rel=0&hd=1" type="application/x-shockwave-flash" width="491" height="276" allowscriptaccess="always" allowfullscreen="true"></embed></object>Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-25454563174319318692013-03-14T02:57:00.000-04:002013-03-14T02:57:11.355-04:00Trailer: Reality<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='490' height='407' src='https://www.youtube.com/embed/RqWji41IjLM?feature=player_embedded' frameborder='0'></iframe></div>
<br />Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-82746475597844305562013-03-04T14:46:00.003-05:002013-03-04T14:46:34.689-05:00Trailer: The Place beyond the Pines<iframe allowfullscreen="" frameborder="0" height="276" src="http://www.youtube.com/embed/Tjes7u9Vewc?hd=1" width="490"></iframe>Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-63775451270844892412013-02-23T16:04:00.001-05:002013-02-23T16:04:25.306-05:00Winners: The SpyGlasses Full (2012)<a href="http://www.blogger.com/rearrange?blogID=2809451536839811037&action=editWidget&sectionId=sidebar&widgetType=null&widgetId=Text2"></a><span class="Apple-style-span" id="fullpost" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;">Best Live-Action Film (Feature-Length)</span> </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;">The Master</span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;">Best Director</span></span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><i>Paul Thomas Anderson,</i> The Master </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;">Best Actor</span></span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;">
<i>Daniel Day-Lewis,</i> Lincoln</span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;">Best Actress</span></span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;">
<i>Jessica Chastain,</i> <a href="http://ayearinfilm.blogspot.com/2013/01/review-zero-dark-thirty.html">Zero Dark Thirty</a> </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;">Best Supporting Actor</span></span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;">
<i>Robert DeNiro,</i> <a href="http://ayearinfilm.blogspot.com/2012/12/review-silver-linings-playbook.html">Silver Linings Playbook</a> </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;">Best Supporting Actress</span></span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;">
<i>Sally Field,</i> Lincoln</span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;">Best Art Direction</span> </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><i>Rick Carter & Jim Erickson,</i> Lincoln </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><br /></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;">Best Cinematography</span> </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><i>Janusz Kaminski,</i> Lincoln </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;">Best Costuming</span></span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;">
<i>Jacqueline Durran,</i> <a href="http://ayearinfilm.blogspot.com/2012/12/reviews-hitchcock-and-anna-karenina.html">Anna Karenina</a> </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;">Best Make-Up</span> </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><i>Bernard Floch,</i> Holy Motors </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;">Best Visual Effects</span> </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><i>Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer, & Donald R. Elliott;</i> <a href="http://ayearinfilm.blogspot.com/2012/11/review-life-of-pi.html">Life of Pi</a></span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;">
<span style="font-style: normal; font-weight: bold;">Best Original Score</span> </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><i>Ennio Morricone,</i> <a href="http://ayearinfilm.blogspot.com/2013/01/review-django-unchained.html">Django Unchained</a> </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;">Best Original Song</span> </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><a href="https://itunes.apple.com/us/album/pis-lullaby/id572077975?i=572078370">"Pi's Lullaby"</a> by <i>Mychael Danna & Bombay Jayashri,</i> <a href="http://ayearinfilm.blogspot.com/2012/11/review-life-of-pi.html">Life of Pi</a></span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;">Best Sound Editing</span> </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><i>Wylie Stateman,</i> Django Unchained</span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;">
<span style="font-style: normal; font-weight: bold;">Best Sound Mixing</span> </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><i>Paul N. J. Ottosson,</i> <a href="http://ayearinfilm.blogspot.com/2013/01/review-zero-dark-thirty.html">Zero Dark Thirty</a> </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;">Best Editing</span> </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><i>Leslie Jones & Peter McNulty,</i> The Master</span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;">Best Screenplay (Original)</span> </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><i>Mark Boal,</i> Zero Dark Thirty</span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;">Best Screenplay (Adapted)</span> </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><i>Tony Kushner,</i> Lincoln </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;">Best Animated Film (Feature-Length)</span> </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;">The Lorax</span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;">Best Animated Film (Short)</span></span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;">
<span style="font-style: normal; font-weight: bold;">Best Documentary Film (Feature-Length or Short)</span></span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;">
Jiro Dreams of Sushi </span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;"><br /></span></span>
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><span style="font-style: normal; font-weight: bold;">Best Foreign-Language Film (Live Action or Animated, Feature-Length or Short)</span></span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;">
Holy Motors
</span><br />
<span class="Apple-style-span" style="display: inline; font-weight: normal;"><br /></span>
<span class="Apple-style-span" style="display: inline;"><b>Top 11 Films of the Year (in Alphabetical Order)</b></span><br />
Anna Karenina<br />
The Dark Knight Rises<br />
Django Unchained<br />
Holy Motors<br />
<span class="Apple-style-span" style="display: inline;">Hope Springs</span><br />
<span class="Apple-style-span" style="display: inline;">Life of Pi</span><br />
<span class="Apple-style-span" style="display: inline;">Lincoln</span><br />
<span class="Apple-style-span" style="display: inline;">The Master</span><br />
<span class="Apple-style-span" style="display: inline;">Moonrise Kingdom</span><br />
<span class="Apple-style-span" style="display: inline;">Silver Linings Playbook</span><br />
<span class="Apple-style-span" style="display: inline;">Zero Dark Thirty</span>Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-39285280401720204302013-01-17T13:04:00.003-05:002013-01-17T13:04:55.824-05:00Featurette: LincolnA wonderful featurette on the making of <i>Lincoln</i>, one of this year's best films:
<iframe allowfullscreen="allowfullscreen" frameborder="0" height="276" src="http://www.youtube.com/embed/z-w4A43wkGU" width="490"></iframe>Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-69372163501202387762013-01-10T02:03:00.003-05:002013-08-07T21:07:15.634-04:00Nominees: The SpyGlasses Full (2012)<a href="javascript:expandcollapse('nominees')">Click to show full list</a>
<dl><span class="posthidden" id="nominees">
<dt><b>Best Live-Action Film (Feature-Length)</b></dt>
<dd>Holy Motors</dd>
<dd>Lincoln</dd>
<dd>The Master</dd>
<dd><a href="http://ayearinfilm.blogspot.com/2012/12/review-silver-linings-playbook.html">Silver Linings Playbook</a></dd>
<dd><a href="http://ayearinfilm.blogspot.com/2013/01/review-zero-dark-thirty.html">Zero Dark Thirty</a>
</dd>
<br />
<br />
<dt><b>Best Director</b></dt>
<dd><i>Paul Thomas Anderson,</i> The Master</dd>
<dd><i>Kathryn Bigelow,</i> <a href="http://ayearinfilm.blogspot.com/2013/01/review-zero-dark-thirty.html">Zero Dark Thirty</a></dd>
<dd><i>Ang Lee,</i> <a href="http://ayearinfilm.blogspot.com/2012/11/review-life-of-pi.html">Life of Pi</a></dd>
<dd><i>David O. Russell,</i> <a href="http://ayearinfilm.blogspot.com/2012/12/review-silver-linings-playbook.html">Silver Linings Playbook</a></dd>
<dd><i>Steven Spielberg,</i> Lincoln</dd>
<br />
<br />
<dt><b>Best Actor</b>
</dt>
<dd><i>Bradley Cooper,</i> <a href="http://ayearinfilm.blogspot.com/2012/12/review-silver-linings-playbook.html">Silver Linings Playbook</a></dd>
<dd><i>Daniel Day-Lewis,</i> Lincoln</dd>
<dd><i>Denis Lavant,</i> Holy Motors</dd>
<dd><i>Joaquin Phoenix,</i> The Master</dd>
<dd><i>Christoph Waltz,</i> <a href="http://ayearinfilm.blogspot.com/2013/01/review-django-unchained.html">Django Unchained</a></dd>
<br />
<br />
<dt><b>Best Actress</b>
</dt>
<dd><i>Jessica Chastain,</i> <a href="http://ayearinfilm.blogspot.com/2013/01/review-zero-dark-thirty.html">Zero Dark Thirty</a></dd>
<dd><i>Ann Dowd,</i> Compliance</dd><dd></dd><dd><i>Jennifer Lawrence,</i> <a href="http://ayearinfilm.blogspot.com/2012/12/review-silver-linings-playbook.html">Silver Linings Playbook</a></dd>
<dd><i>Meryl Streep,</i> <a href="http://ayearinfilm.blogspot.com/2012/08/review-hope-springs.html">Hope Springs</a></dd>
<dd><i>Rachel Weisz,</i> The Deep Blue Sea</dd>
<br />
<br />
<dt><b>Best Supporting Actor</b>
</dt>
<dd><i>Jason Clarke,</i> <a href="http://ayearinfilm.blogspot.com/2013/01/review-zero-dark-thirty.html">Zero Dark Thirty</a></dd>
<dd><i>Robert DeNiro,</i> <a href="http://ayearinfilm.blogspot.com/2012/12/review-silver-linings-playbook.html">Silver Linings Playbook</a></dd>
<dd><i>Phillip Seymour Hoffman,</i> The Master</dd>
<dd><i>Samuel L. Jackson,</i> <a href="http://ayearinfilm.blogspot.com/2013/01/review-django-unchained.html">Django Unchained</a></dd>
<dd><i>Eddie Redmayne,</i> <a href="http://ayearinfilm.blogspot.com/2013/01/review-les-miserables.html">Les Misérables</a></dd>
<br />
<br />
<dt><b>Best Supporting Actress</b></dt>
<dd><i>Isabelle Allen,</i> <a href="http://ayearinfilm.blogspot.com/2013/01/review-les-miserables.html">Les Misérables</a></dd>
<dd><i>Sally Field,</i> Lincoln</dd>
<dd><i>Anne Hathaway,</i> <a href="http://ayearinfilm.blogspot.com/2012/07/review-dark-knight-rises.html">The Dark Knight Rises</a></dd>
<dd><i>Helen Hunt,</i> The Sessions</dd>
<dd><i>Maggie Smith,</i> The Best Exotic Marigold Hotel</dd>
<br />
<br />
<br />
<dt><b>Best Art Direction</b></dt>
<dd><i>Rick Carter & Jim Erickson,</i> Lincoln</dd>
<dd><i>David Crank & Jack Fisk,</i> The Master</dd>
<dd><i>Sarah Greenwood & Katie Spencer,</i> <a href="http://ayearinfilm.blogspot.com/2012/12/reviews-hitchcock-and-anna-karenina.html">Anna Karenina</a></dd>
<dd><i>David Gropman & Anna Pinnock,</i> <a href="http://ayearinfilm.blogspot.com/2012/11/review-life-of-pi.html">Life of Pi</a></dd>
<dd><i>Arthur Max,</i> <a href="http://ayearinfilm.blogspot.com/2012/06/review-prometheus.html">Prometheus</a></dd>
<br />
<br />
<dt><b>Best Cinematography</b></dt>
<dd><i>Greig Fraser,</i> <a href="http://ayearinfilm.blogspot.com/2013/01/review-zero-dark-thirty.html">Zero Dark Thirty</a></dd>
<dd><i>Eric Gautier</i>, On the Road</dd>
<dd><i>Janusz Kaminski,</i> Lincoln</dd>
<dd><i>Mihai Malaimare, Jr.;</i> The Master</dd>
<dd><i>Robert D. Yeoman,</i> Moonrise Kingdom</dd>
<br />
<br />
<dt><b>Best Costuming</b></dt>
<dd><i>Bob Buck, Ann Maskrey, & Richard Taylor;</i> <a href="http://ayearinfilm.blogspot.com/2012/12/review-hobbit.html">The Hobbit: An Unexpected Journey</a></dd>
<dd><i>Sharen Davis,</i> <a href="http://ayearinfilm.blogspot.com/2013/01/review-django-unchained.html">Django Unchained</a></dd>
<dd><i>Paco Delgado,</i> <a href="http://ayearinfilm.blogspot.com/2013/01/review-les-miserables.html">Les Misérables</a></dd>
<dd><i>Jacqueline Durran,</i> <a href="http://ayearinfilm.blogspot.com/2012/12/reviews-hitchcock-and-anna-karenina.html">Anna Karenina</a></dd>
<dd><i>Joanna Johnston,</i> Lincoln</dd>
<br />
<br />
<dt><b>Best Make-Up</b></dt>
<dd><i>Tina Earnshaw & Nina Fischer,</i> <a href="http://ayearinfilm.blogspot.com/2012/06/review-prometheus.html">Prometheus</a></dd>
<dd><i>Bernard Floch,</i> Holy Motors</dd>
<dd><i>Peter Swords King, Rick Findlater, & Tami Lane;</i> <a href="http://ayearinfilm.blogspot.com/2012/12/review-hobbit.html">The Hobbit: An Unexpected Journey</a></dd>
<dd>Lincoln</dd>
<dd><i>Lisa Westcott & Julie Dartnell,</i> <a href="http://ayearinfilm.blogspot.com/2013/01/review-les-miserables.html">Les Misérables</a></dd>
<br />
<br />
<dt><b>Best Visual Effects</b></dt>
<dd>Cloud Atlas</dd>
<dd><i>Joe Letteri, Eric Saindon, David Clayton, & R. Christopher White;</i> <a href="http://ayearinfilm.blogspot.com/2012/12/review-hobbit.html">The Hobbit: An Unexpected Journey</a></dd>
<dd><i>Janek Sirrs, Jeff White, Guy Williams, & Dan Sudick;</i> Marvel's The Avengers</dd>
<dd><i>Richard Stammers, Trevor Wood, Charley Henley, & Martin Hill;</i> <a href="http://ayearinfilm.blogspot.com/2012/06/review-prometheus.html">Prometheus</a></dd>
<dd><i>Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer, & Donald R. Elliott;</i> <a href="http://ayearinfilm.blogspot.com/2012/11/review-life-of-pi.html">Life of Pi</a></dd>
<br />
<br />
<br />
<dt><b>Best Original Score</b></dt>
<dd><i>Mychael Danna,</i> <a href="http://ayearinfilm.blogspot.com/2012/11/review-life-of-pi.html">Life of Pi</a></dd>
<dd><i>Jonny Greenwood,</i> The Master</dd>
<dd><i>Dario Marianelli,</i> <a href="http://ayearinfilm.blogspot.com/2012/12/reviews-hitchcock-and-anna-karenina.html">Anna Karenina</a></dd>
<dd><i>Ennio Morricone,</i> <a href="http://ayearinfilm.blogspot.com/2013/01/review-django-unchained.html">Django Unchained</a></dd>
<dd><i>John Williams,</i> Lincoln</dd>
<br />
<br />
<dt><b>Best Original Song</b></dt>
<dd><a href="https://itunes.apple.com/us/album/100-black-coffins/id587029807?i=587030340">"100 Black Coffins"</a> by <i>Rick Ross,</i> <a href="http://ayearinfilm.blogspot.com/2013/01/review-django-unchained.html">Django Unchained</a></dd>
<dd><a href="https://itunes.apple.com/us/album/pis-lullaby/id572077975?i=572078370">"Pi's Lullaby"</a> by <i>Mychael Danna & Bombay Jayashri,</i> <a href="http://ayearinfilm.blogspot.com/2012/11/review-life-of-pi.html">Life of Pi</a></dd>
<dd><a href="https://itunes.apple.com/us/album/song-lonely-mountain-extended/id576596387?i=576596643">"Song of the Lonely Mountain"</a> by <i>Neil Finn</i>, <a href="http://ayearinfilm.blogspot.com/2012/12/review-hobbit.html">The Hobbit: An Unexpected Journey</a></dd>
<dd><a href="https://itunes.apple.com/us/album/touch-the-sky/id527775518?i=527775950">"Touch the Sky"</a> by <i>Julie Fowlis,</i> Brave</dd>
<dd><a href="http://youtu.be/S-1651-XCXo">"Who Were We?"</a> by <i>Kylie Minogue,</i> Holy Motors</dd>
<br />
<br />
<dt><b>Best Sound Editing</b></dt>
<dd><i>Karen Baker & Per Hallberg,</i> Skyfall</dd>
<dd><i>Christopher Boyes,</i> Marvel's The Avengers</dd>
<dd><i>Paul N. J. Ottosson,</i> <a href="http://ayearinfilm.blogspot.com/2013/01/review-zero-dark-thirty.html">Zero Dark Thirty</a></dd>
<dd><i>Ann Scibelli,</i> <a href="http://ayearinfilm.blogspot.com/2012/06/review-prometheus.html">Prometheus</a></dd>
<dd><i>Wylie Stateman,</i> <a href="http://ayearinfilm.blogspot.com/2013/01/review-django-unchained.html">Django Unchained</a></dd>
<br />
<br />
<dt><b>Best Sound Mixing</b></dt>
<dd><i>Ron Bartlett & Doug Hemphill,</i> <a href="http://ayearinfilm.blogspot.com/2012/06/review-prometheus.html">Prometheus</a></dd>
<dd><i>Ron Bartlett, D.M. Hemphill, & Drew Kunin;</i> <a href="http://ayearinfilm.blogspot.com/2012/11/review-life-of-pi.html">Life of Pi</a></dd>
<dd><i>Andy Nelson, Gary Rydstrom, & Ronald Judkins;</i> Lincoln</dd>
<dd><i>Paul N. J. Ottosson,</i> <a href="http://ayearinfilm.blogspot.com/2013/01/review-zero-dark-thirty.html">Zero Dark Thirty</a></dd>
<br />
<br />
<br />
<dt><b>Best Editing</b></dt>
<dd><i>François Gédigier,</i> On the Road</dd>
<dd><i>William Goldenberg & Dylan Tichenor,</i> <a href="http://ayearinfilm.blogspot.com/2013/01/review-zero-dark-thirty.html">Zero Dark Thirty</a></dd>
<dd><i>Leslie Jones & Peter McNulty,</i> The Master</dd>
<dd><i>Michael Kahn,</i> Lincoln</dd>
<dd><i>Tim Squyres,</i> <a href="http://ayearinfilm.blogspot.com/2012/11/review-life-of-pi.html">Life of Pi</a></dd>
<br />
<br />
<dt><b>Best Screenplay (Original)</b></dt>
<dd><i>Paul Thomas Anderson,</i> The Master</dd>
<dd><i>Mark Boal,</i> <a href="http://ayearinfilm.blogspot.com/2013/01/review-zero-dark-thirty.html">Zero Dark Thirty</a></dd>
<dd><i>Leos Carax,</i> Holy Motors</dd>
<dd><i>John Gatins,</i> Flight</dd>
<dd><i>Jonathan Lisecki,</i> Gayby</dd>
<br />
<br />
<dt><b>Best Screenplay (Adapted)</b></dt>
<dd><i>Michael Bacall & Jonah Hill,</i> 21 Jump Street</dd>
<dd><i>Stephen Chbosky,</i> The Perks of Being a Wallflower</dd>
<dd><i>Tony Kushner,</i> Lincoln</dd>
<dd><i>David Magee,</i> <a href="http://ayearinfilm.blogspot.com/2012/11/review-life-of-pi.html">Life of Pi</a></dd>
<dd><i>David O. Russell,</i> <a href="http://ayearinfilm.blogspot.com/2012/12/review-silver-linings-playbook.html">Silver Linings Playbook</a></dd>
<br />
<br />
<dt><b>Best Animated Film (Feature-Length)</b></dt>
<dd>Brave</dd>
<dd>The Lorax</dd>
<dd>Paranorman</dd>
<br />
<br />
<dt><b>Best Animated Film (Short)</b></dt>
<br />
<br />
<dt><b>Best Documentary Film (Feature-Length or Short)</b></dt>
<dd>Jiro Dreams of Sushi</dd>
<dd>The Queen of Versailles</dd>
<br />
<br />
<dt><b>Best Foreign-Language Film (Live Action or Animated, Feature-Length or Short)</b></dt>
<dd>Amour (Love)</dd>
<dd>Holy Motors</dd>
<dd>L'Intouchables (The Untouchables)</dd>
<dd>A Royal Affair</dd>
</span></dl>Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0tag:blogger.com,1999:blog-2809451536839811037.post-8192367685669151182013-01-02T15:10:00.000-05:002013-01-02T15:10:01.482-05:00Article: "Pain and Nourishment: Kirin Kiki in Still Walking"<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbzhBXW9xaIuWSPFg7to3IeGJyz24COxLJlvuUaN-IA_gp4CuBIUDEhd5W0MFVv-Le0y7desO5anjMgKoQKyHkeaEC9CQsF-DrBCESvpP9IyXj35pp5X_Ol1uDoJTkaz_SGkYoE8ywqD-K/s1600/large_stillwalking.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbzhBXW9xaIuWSPFg7to3IeGJyz24COxLJlvuUaN-IA_gp4CuBIUDEhd5W0MFVv-Le0y7desO5anjMgKoQKyHkeaEC9CQsF-DrBCESvpP9IyXj35pp5X_Ol1uDoJTkaz_SGkYoE8ywqD-K/s400/large_stillwalking.jpg" width="400" /></a></div>
Michael Koresky of the <a href="http://www.criterion.com/current/">Criterion Current</a> presents a <a href="http://www.criterion.com/current/posts/2610-pain-and-nourishment-kirin-kiki-in-still-walking?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+TheCriterionCollection-TheCurrent+%28The+Current%29">complimentary piece</a> on the performance of Kiki Kirin, a <a href="http://ayearinfilm.blogspot.com/2010/02/spyglasses-full-2009-official-winners.html">2009 Best Supporting Actress nominee</a> from the Best Live-Action Film (Feature-Length) and Best Foreign-Language Film (Live Action or Animated, Feature-Length or Short) that year, <i>歩いても 歩いても</i> (<i>Still Walking</i>).Richhttp://www.blogger.com/profile/12560540205605131612noreply@blogger.com0