The 82nd Academy Awards ran smoothly on 8 Sunday 2010 with your run of the mill hits, misses and oddities. Kicking off the event was not hosts Alec Baldwin and Steve Martin, but Neal Patrick Harris, who lead a music number about how two hosts are better than one. Although Harris’ charisma was infectious, the number itself was pretty mediocre; not bad, but not memorable either. This statement pretty much sums up this year’s Oscars.
Film criticism, they say, is dying. Not great news for professional critics far from retirement, nor for those of us eying the profession for the future. Yet with the advent of the Internet and entertainment journalism turning into gaudy gossip columns, film criticism’s relevancy is being questioned.
Let’s keep this short and sweet. Here are my (James) predictions for today’s oscar ceremony. Before I get started, let me list the nominees, across all catagories, for which I am working off first hand knowledge (which is quite a few).
AvatarAllright, with that done, let’s get started with the nominations. I’ve underlined the films I think will win, and I’ve italicized the nominees I prefer the most. Continue reading
Well after two weeks off (or one podcast cycle), we’re finally back. This week Double Indemnity, The Postman Always Rings Twice, and Body Heat. Three film noir films all based on the same story, how do they compare?
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This little piggy?
Amelie (2001) is a whimsical little film about a waitress and her struggle with isolation and quest to enrich and fulfill the lives of those around her. With an infectious smile and a quirky presentation, this film was considered one of the best of 2001 – as it was nominated by the Academy in five categories and received an amazing amount of critical acclaim.
I will not be reviewing that movie.
Delicatessen, on the other hand, is a 99 minute film about cannibalism in a post-apocalyptic world. Is that what you came here for? To see me review this kind of sick, twisted, yet oddly funny movie about the dangers of eating other people? Of course it is. I always give you what you want. I’m training you, you see? Like Pavlov’s dogs. Every Friday, you’ll come back to me begging for more food film propaganda. You think it doesn’t work? You’re here, aren’t you? Continue reading
We enter another week of “Taking Stock,” our weekly column in which the entire staff tells you what they think of the movies coming out this week based on very little knowledge and first impressions.
Alice in WonderlandJames: My level of interest in this film has vacillated. At first it seemed like a no-brainer, then I realized I was tired of Tim Burton re-imagining children’s stories in his style, and finally, I’ve begun to find the trailers to be very visually satisfying. I just hope it’s good, and the early buzz says it might be.
Benn: I’m pretty indifferent to the film, though Tim Burton’s latest trend of tired remakes of classics with the same color schemes and cast. Honestly, I’ll stick with the old Disney cartoon.
Dylan: I like Burton better when he’s working with his own original material. Again, his usual suspects are back. I’m starting to get the feeling that 3-D will be the deus -ex-machina of films. “If the plot is suffering, make that shit 3-D!” Anyways, I’m definitely seeing this, but only in IMAX 3-D. Go big or go home.
Fil: I’ll likely enjoy this film, especially in 3D – but to be honest with you, I’m just finding it really hard to get excited. Tim Burton needs some fresh material.
Anna: I thought Tim Burton would be one of those directors who wouldn’t get cocky with his style. The Gothic, crooked CG is a little old now, even for a seemingly fitting fucked up drugged story. Maybe if I’d seen the trailer before the succession of Planet of the Apes, Corpse Bride, and Big Fish, I’d be a little more excited since the Disney version never thrilled me as a kid. Can we stay away from the tragic, showy remakes, please?
Un Prophete, France/s entry to the Academy’s Best Foreign Film category, has been compared to The Godfather, a comparison that many will think presumptuous, undeserved or euro-centric. Though the film’s protagonist is no Michael Corleone, the rise of the film’s titular character is just as majestic and engaging as his Seventies, American counterpart.
Malik El Djebena (Tahar Rahim) is a nineteen-year-old Beur (formal term for an Arab immigrant in France) living on the streets of France when he is arrested and given a six-year sentence. He has no family, no friends in or outside of prison and is illiterate. Needless to say, he has all the odds stacked against him.
We enter OUR MOST FANTABULOUS week of “Taking Stock,” our weekly column in which the entire staff (ESPECIALLY FIL – HE’S SO DREAMY) tells you what they think of the movies coming out this week based on very little knowledge and first impressions.
Cop OutJames: I’ve always been a fan of Kevin Smith, and I think directing someone else’s script might be the type of thing that could get him out of his funk. I do wish he’d make another “Kevin Smith” movie, it feels like he’s been trying to vanilla-ize himself too much lately. That said, I’d like to see this.
Benn: This makes “Jersey Girl” look like “Clerks”. Shame on you Smitty, you’re better than this.
Dylan: I’m so torn. I really want this to be funny. I just don’t think Kevin Smith should go too mainstream. If I can fit it in, I’ll see it, otherwise I’ll wait for netflix.
Fil: I really wish this was still called A Couple of Dicks, but renaming it to Cop Out has a certain self referential humor to it. I’ll see it if someone else wants to, but I won’t go out of my way. Continue reading
No, this is not 2001. It's 2027.
Do you ever reach that point where you feel like you’ve run out of things to say? Like you’ve written all there is on a certain subject and you just feel like giving up? Like…you just wanted to finish with this stupid quest you stupidly decided to embark on for no reason other than to get the ladies to like you? I haven’t. I’m not a loser.
This week’s column covers one of my top ten favorite films of all time: Children of Men. As such, I may or may not overcompensate in the not-funny joke area and not actually say anything productive in this article. And to those of you who insist I never say anything productive – I’ll have you know that my article on A.I. saved a 4 year old Brazilian child from drowning last week. What did your article do? Oh, that’s right; you don’t write articles hard-hitting investigative reports. Continue reading
Let’s just be clear from the start. It’s not often these days that a film causes me to constantly think to myself, This is so awesome. But sitting in a darkened theater, watching Shutter Island, the latest from Martin Scorsese and Leonardo Di Caprio, that is exactly what I was thinking. Martin Scorsese is a master of the medium, so this is certainly no surprise, but seldom has his work been this much fun. Not only does this film pay homage to the greats of the thriller genre while fleshing itself as a full-fledged entry itself, but it’s also an example of some of the finest filmmaking execution I’ve seen in some time.
As always, I’ll stay brief with my synopsis. Di Caprio plays Teddy Daniels, a federal marshal who, alongside his partner Chuck (Mark Ruffalo) goes to an island to investigate the disappearance of a patient from a highly secure mental institution for the criminally insane. And let the eerie events ensue. Continue reading