22 January 2009

Immediate Reaction: The Oscar Nominations

People are definitely pouting out there, in the blogosphere, for The Dark Knight's lack of Best Picture, Director, and Screenplay nominations - and I can't disagree that that film belongs there, among the lists of nominees, above some of the ones who were given nods - but that's just the way the Oscar cookie crumbles. One knows, there were all sorts of films that I would have seen on those lists, ones that I believed to be far more worthy that those that have their slots (and than The Dark Knight), but it's not in my hands nor was it in their hands (i. e., the hands of those in the blogosphere that were so salient about The Dark Knight's chances) either. The best one can do on Oscar-nominations' morning is hope, not that they (i. e., the Oscar voters) get it all "right," according to one's own perspectives, but rather that they get only a little "wrong."
In that spirit, here is where in my opinion the Academy averted disaster:

  • Michael Shannon's Supporting Actor nomination for Revolutionary Road - totally deserved and on my list as well
  • Melissa Leo's Leading Actress nomination for Frozen River - as much deserved as its more expected Original Screenplay nomination
  • Danny Glicker's Costume Design nomination for Milk - somewhat unexpected, despite their quality, as the film is a recent period piece
  • Wylie Stateman's Sound Editing nomination for Wanted
  • ZERO nominations for the abysmal Gran Torino
And for notes on where I think the Academy went wrong, one need only contrast my list of little nominations in the sidebar with the full list of official nominations by the Academy, found here and reproduced below:

Performance by an Actor in a Leading Role

Original Screenplay

21 January 2009

Addendum to and Amendment of "On Cinematography This Year"

My other blog, In Focus, has just recently been updated with a bout founting from the happy intersection between its own aims and topics and the aims and topics of this blog, A Year in Film. The bout contains observations and descriptions that not only touch on the merits of intersecting the two blogs and the reasons for intersecting them now, but also elaborate on the choices that I made in my previous post, which it follows, On Cinematography This Year. Finally, it offers up an alternative or amendment to be made to the list of 11 favorite cinematographs from the films of 2008, a list that I counted in that previous post. The amendment, a still from the animated short Skhizein, comes in precedence of its origin-film's surprise filling of my fifth slot in cinematography, in my list of nominations for the 2008 SpyGlasses Full, the rest of whose categories will be finalized by tomorrow morning in pointed advance of the annual Oscar-nominations' announcement scheduled for tomorrow at 8:30am. Further blogging here will no doubt commence thenafter tomorrow, until which time enjoy the short films!

19 January 2009

Reaction: The Times' Reviews

I just got around to reading the Times' reviews of two prominent films from this year's season, films about which I feel very strongly: The Curious Case of Benjamin Button and Gran Torino. As I have stated - outright in my official review of The Curious Case of Benjamin Button and outright in my guerilla-style, tagged-on review of Gran Torino - these films were not good: definitely not the important works of cinema that so many other film-goers, -viewers, and -reviewers have claimed and paraded them to be. En suite, I was expecting nothing less than similar - at the very least half-hearted praise for each, praise scrounged for and based on the few redeeming qualities that each film has - but, no, the Times in a bizarre and startling turn of events has decided to shout from the rooftops high praise for each, praise which I have an extremely hard time justifying and praise which, despite its overall intent, does seem suspiciously coded at intervals with quick jabs and punches that to a more suspecting reader could seem even quietly rebellious/subversive (of the over-lording positivity of the reviews). Whether or not there be any truth in such a matter is clearly beyond me, but whether or not the matter may be let stand without the appropriate "WTF?!" reaction is clearly in my hands - an opportunity of which I will make quick work right now: WTF?!!!!? Seriously, you guys, how can you even stand to use words that even broach descriptions like "masterful" or "exquisite" when reviewing these filmic works as wholes? Their few virtues may only be called virtues by virtue of the fact that everything else about them is so embarrassingly terrible. So, I must ask you, as I pointedly asked Mr. Eastwood in my quick review of his joke Gran Torino, "Are you joking me?" (And I ask in earnest because, like last time, I am laughing).

Tidbit: Emma Thompson on Her Work with Ang Lee

Via THR and its series of round-tables, Emma Thompson in all her elegant intelligence recounts with apt quip a note from brilliant director Ang Lee, who oversaw her tremendous performance in her own Sense & Sensibility (1995):