127 Hours
Over directed in the extreme by Danny Boyle with so many flashback/fantasy sequences, that they deflect from the main, rather slim narrative. Intrusive music score and split screen doesn't help either. There are plenty of ways this story could have been told and Danny Boyle seems to have picked the worst possible ways to do it. And what the hell is James Franco nominated for? He really has very little to do.
2/10
The Official Review Thread of 2010
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Precious Doll
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I went to see the Oscar-nominated live action short films last night. My rankings:
1. God of Love. It will probably divide viewers, some finding it endearingly hip, others finding it irritating and precious (much like 500 Days of Summer), but I felt it successfully matched a whimsical visual style with an amusing script. It definitely feels slight, but I thought it was the best bit of filmmaking in the bunch.
2. The Confession. It aspires to comment on burgeoning spiritual awareness and abruptly lost innocence, but ultimately falls flat on both fronts (mostly because of an unsatisfying ending). Even if the overall effect isn't as profound as the filmmakers had hoped, it still builds tension beautifully, and contains some well composed shots.
3. Na Wewe. It's not as ambitious as The Confession, but its theme--the illegibility of national identity in the context of increased globalization--comes through more coherently. It's well shot, but the first half develops slowly and uninterestingly.
4. Wish 143. It has some amusing moments, and a charismatic lead performance, but ultimately follows a predictable and maudlin arc. My hunch is that it will play well with voters, though.
5. The Crush. The audience seemed to eat this one up, but I thought it looked amateurish, and none of the characters consistently speak or behave like real people. Still, it features an adorable child, so don't count it out.
I'm predicting Wish 143 for the win, but The Confession and Na Wewe have the gravitas to move enough voters. God of Love might be the wildcard, since humor and whimsy have won in this category before.
1. God of Love. It will probably divide viewers, some finding it endearingly hip, others finding it irritating and precious (much like 500 Days of Summer), but I felt it successfully matched a whimsical visual style with an amusing script. It definitely feels slight, but I thought it was the best bit of filmmaking in the bunch.
2. The Confession. It aspires to comment on burgeoning spiritual awareness and abruptly lost innocence, but ultimately falls flat on both fronts (mostly because of an unsatisfying ending). Even if the overall effect isn't as profound as the filmmakers had hoped, it still builds tension beautifully, and contains some well composed shots.
3. Na Wewe. It's not as ambitious as The Confession, but its theme--the illegibility of national identity in the context of increased globalization--comes through more coherently. It's well shot, but the first half develops slowly and uninterestingly.
4. Wish 143. It has some amusing moments, and a charismatic lead performance, but ultimately follows a predictable and maudlin arc. My hunch is that it will play well with voters, though.
5. The Crush. The audience seemed to eat this one up, but I thought it looked amateurish, and none of the characters consistently speak or behave like real people. Still, it features an adorable child, so don't count it out.
I'm predicting Wish 143 for the win, but The Confession and Na Wewe have the gravitas to move enough voters. God of Love might be the wildcard, since humor and whimsy have won in this category before.
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anonymous1980
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127 HOURS
Cast: James Franco, Amber Tamblyn, Kate Mara, Clemence Poesy, Kate Burton, Treat Williams, Lizzy Caplan.
Dir: Danny Boyle.
This is NOT one of Danny Boyle's best works. It does work however mainly due to James Franco's great performance. He pretty much takes up much of the entire running time of the film yet he's endlessly watchable and compelling (with help from Boyle's showy direction though I felt some of it wasn't needed). I was expecting something worse with the arm amputation scene. It was grisly but I've seen worse.
Oscar Prospects: I think James Franco has the best chance to upset Colin Firth. It won't happen though.
Grade: B
Cast: James Franco, Amber Tamblyn, Kate Mara, Clemence Poesy, Kate Burton, Treat Williams, Lizzy Caplan.
Dir: Danny Boyle.
This is NOT one of Danny Boyle's best works. It does work however mainly due to James Franco's great performance. He pretty much takes up much of the entire running time of the film yet he's endlessly watchable and compelling (with help from Boyle's showy direction though I felt some of it wasn't needed). I was expecting something worse with the arm amputation scene. It was grisly but I've seen worse.
Oscar Prospects: I think James Franco has the best chance to upset Colin Firth. It won't happen though.
Grade: B
Yes, Bunuel and Haneke are much more complex; both - and at least in Bunuel's case, on a historically documented personal level - have such strong ties with their respective countries' artistic and literary movements that any comparison would be honestly unfair. And the general mood of their movies is pervasive and absorbing, something that I didn't really get from this admittedly intelligent movie. One thing I liked about Dogtooth, though, is the contrast between the oppressive and dark situation and scenes and the sunny, Mediterannean light that the movie is "drenched" in.
As for Incendies, it's certainly true that some of its coincidences are meant to say something about that mess that is a war, and especially a civil war, and, I'll add, especially a civil war in such a small country as Lebanon is. But - I can't say too much without spoiling the movie - I'll just say that I have problems about the age of some of the characters, etc - things like these.
As for Incendies, it's certainly true that some of its coincidences are meant to say something about that mess that is a war, and especially a civil war, and, I'll add, especially a civil war in such a small country as Lebanon is. But - I can't say too much without spoiling the movie - I'll just say that I have problems about the age of some of the characters, etc - things like these.
The narrative is driven by coincidence, to be sure, but for me at least this objection loses weight if you think of the film as a parable for the insanity of war.ITALIANO wrote:The Canadian movie Incendies is the only one - of these - which could in theory win over the clear favorite (which I still haven't seen) In a Better World. It was shot in Jordan, quite unconvincingly representing Lebanon (though Lebanon is never openly mentioned - only implied). It has one of those big, twisty endings that the Academy loves, and of course plenty of scenes set in a country on fire; the flashbacks are more interesting (and better acted) than the present-day story, and some coincidences make it a bit unrealistic; but the ending admittedly stays with you.
I'd like to observe that of the five Canadian Best Foreign Film nominees, four of them have Rémy Girard in them. I guess there wouldn't have been space for him in Water...
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Mister Tee
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I'm pretty much in Italiano's camp on Dogtooth. It's WAY outside what would recently be considered the Academy comfort zone for foreign-language films. (I'm glad I didn't try to talk my wife into watching with me. She'd never have forgiven me for the cat scene) And it's quite an interesting film, both on the conceptual level and in many of its details. But I felt I wanted it gather more and be something bigger, in the way that some of the films I presume are being referenced (Cache, The Exterminating Angel) did. It's the only one of the five nominees I've seen, and I'd certainly be fine with it winning, if only to shake up our notion of what kind of film wins an Oscar. But I can't say I have the enthusiasm for it that I did for, say, The White Ribbon last year.
(ITALIANO @ Feb. 09 2011,5:16)
I don't think it's going for Haneke's tension. Likely that would include some form of relatively arbitrary plot mechanism that would drive it towards a most likely apocalyptic ending. I think Lanthimos is going more for Buñuel than Haneke. There is a perversely mundane quality to Dogtooth that never came close to tiring me.
The Greek movie Dogtooth is more interesting, but also unfortunately not a masterpiece. It's the proof, though, that when challenged the Academy can prove that it has cojones. Because honestly, if ever a movie isn't the typical "Foreign Film nominee" it's this one - those who have seen it know what I mean. One can only sympathize with those certainly nice, well-meaning, and even reasonably open-minded Americans who must see all the submitted movies - from countries like Bhutan and Laos, telling stories which, let's face it, a group that will pick The King's Speech as the best of the year not only can't like - can't even understand. Anyway, Dogtooth has an intriguing set-up and moments of explicit sex and violence - Haneke comes to mind,but the movie lacks Haneke's almost unbearable tension, and despite its undeniable originality can be a bit tiresome. It's still the best of these three.
I don't think it's going for Haneke's tension. Likely that would include some form of relatively arbitrary plot mechanism that would drive it towards a most likely apocalyptic ending. I think Lanthimos is going more for Buñuel than Haneke. There is a perversely mundane quality to Dogtooth that never came close to tiring me.
"How's the despair?"
I've recently seen three Best Foreign Film nominees.
The Mexican-Spanish co-production Biutiful is a long, relentless exercise in miserabilism, which despite its look of gritty realism on the surface, deep inside relies on that old, proven tearjerker cliche: the father (or, in other cases, the mother) dying of cancer and trying to give a better - or safer - future to his children. (The girl sitting beside me was sobbing by the end of the movie.) There are, of course, other things in Biutiful, as one can expect from its director. And I must admit that I like ambitious filmmakers - but in Inarritu's case ambition doesn't necessarily mean depth - though it certainly can be mistaken for depth by some critics. Barcelona (except for a quick action scene set in Placa Catalunya and around the Ramblas) looks like Beirut or Cairo - the worst parts of Beirut or Cairo; and there are some unnecessary subplots - including a gay one. The movie is never boring and it even has some touching moments of unexpected honesty; these are mostly due to Javier Bardem's performance, which is very good (though I guess that even a less talented actor would be effective in such a role - it's a dream part for any actor) in his usual sensitive/tough way. The movie is watchable, but can be very irritating if you decide to see through it. It's not the masterpiece some say it is.
The Greek movie Dogtooth is more interesting, but also unfortunately not a masterpiece. It's the proof, though, that when challenged the Academy can prove that it has cojones. Because honestly, if ever a movie isn't the typical "Foreign Film nominee" it's this one - those who have seen it know what I mean. One can only sympathize with those certainly nice, well-meaning, and even reasonably open-minded Americans who must see all the submitted movies - from countries like Bhutan and Laos, telling stories which, let's face it, a group that will pick The King's Speech as the best of the year not only can't like - can't even understand. Anyway, Dogtooth has an intriguing set-up and moments of explicit sex and violence - Haneke comes to mind, but the movie lacks Haneke's almost unbearable tension, and despite its undeniable originality can be a bit tiresome. It's still the best of these three.
The Canadian movie Incendies is the only one - of these - which could in theory win over the clear favorite (which I still haven't seen) In a Better World. It was shot in Jordan, quite unconvincingly representing Lebanon (though Lebanon is never openly mentioned - only implied). It has one of those big, twisty endings that the Academy loves, and of course plenty of scenes set in a country on fire; the flashbacks are more interesting (and better acted) than the present-day story, and some coincidences make it a bit unrealistic; but the ending admittedly stays with you.
Edited By ITALIANO on 1297293469
The Mexican-Spanish co-production Biutiful is a long, relentless exercise in miserabilism, which despite its look of gritty realism on the surface, deep inside relies on that old, proven tearjerker cliche: the father (or, in other cases, the mother) dying of cancer and trying to give a better - or safer - future to his children. (The girl sitting beside me was sobbing by the end of the movie.) There are, of course, other things in Biutiful, as one can expect from its director. And I must admit that I like ambitious filmmakers - but in Inarritu's case ambition doesn't necessarily mean depth - though it certainly can be mistaken for depth by some critics. Barcelona (except for a quick action scene set in Placa Catalunya and around the Ramblas) looks like Beirut or Cairo - the worst parts of Beirut or Cairo; and there are some unnecessary subplots - including a gay one. The movie is never boring and it even has some touching moments of unexpected honesty; these are mostly due to Javier Bardem's performance, which is very good (though I guess that even a less talented actor would be effective in such a role - it's a dream part for any actor) in his usual sensitive/tough way. The movie is watchable, but can be very irritating if you decide to see through it. It's not the masterpiece some say it is.
The Greek movie Dogtooth is more interesting, but also unfortunately not a masterpiece. It's the proof, though, that when challenged the Academy can prove that it has cojones. Because honestly, if ever a movie isn't the typical "Foreign Film nominee" it's this one - those who have seen it know what I mean. One can only sympathize with those certainly nice, well-meaning, and even reasonably open-minded Americans who must see all the submitted movies - from countries like Bhutan and Laos, telling stories which, let's face it, a group that will pick The King's Speech as the best of the year not only can't like - can't even understand. Anyway, Dogtooth has an intriguing set-up and moments of explicit sex and violence - Haneke comes to mind, but the movie lacks Haneke's almost unbearable tension, and despite its undeniable originality can be a bit tiresome. It's still the best of these three.
The Canadian movie Incendies is the only one - of these - which could in theory win over the clear favorite (which I still haven't seen) In a Better World. It was shot in Jordan, quite unconvincingly representing Lebanon (though Lebanon is never openly mentioned - only implied). It has one of those big, twisty endings that the Academy loves, and of course plenty of scenes set in a country on fire; the flashbacks are more interesting (and better acted) than the present-day story, and some coincidences make it a bit unrealistic; but the ending admittedly stays with you.
Edited By ITALIANO on 1297293469
The Wolfman (Joe Johnson)
I'm not sure why this remake was so savaged by reviewers. Yes, its narrative back story involving Anthony Hopkins is convoluted and strains credulity (even within the confines of the genre) and Joe Johnson seemingly uses a lot of CGI simply because he can, and employs visual devices such as jump cuts merely to show off. But still, this is a fun, highly atmospheric and enjoyable film; throughly disposable, it nevertheless is an engaging way to spend a couple hours. Geraldine Chaplin is terrific in the Maria Ouskenspaya role of the old Gypsy woman, and Danny Elfman's score is full-throttled, old-fashioned and pleasurable.
5/10
I'm not sure why this remake was so savaged by reviewers. Yes, its narrative back story involving Anthony Hopkins is convoluted and strains credulity (even within the confines of the genre) and Joe Johnson seemingly uses a lot of CGI simply because he can, and employs visual devices such as jump cuts merely to show off. But still, this is a fun, highly atmospheric and enjoyable film; throughly disposable, it nevertheless is an engaging way to spend a couple hours. Geraldine Chaplin is terrific in the Maria Ouskenspaya role of the old Gypsy woman, and Danny Elfman's score is full-throttled, old-fashioned and pleasurable.
5/10
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
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Big Magilla
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Chloe (Atom Egoyan) 5/10
This is the film Liam Neeson was making at the time of Natahsa Richardson's death and his role was cut considerably, forcing Julianne Moore, Amanda Seyfired and Max Thieriot to carry it.
This is far from Egoyan's best, a sappy Fatal Attraction rip-off with Moore as a doctor who hires prostitute Seyfired to "test" her professor husband (Neeson) to see "how far he will go". The premise is idiotic and the execution isn't much better, but Moore rises above the material. Seyfired does not, and Neeson is hardly in the thing.
Thieriot as the couple's budding concert pianist son is given some nice moments, but his character has nowhere to go.
This is the film Liam Neeson was making at the time of Natahsa Richardson's death and his role was cut considerably, forcing Julianne Moore, Amanda Seyfired and Max Thieriot to carry it.
This is far from Egoyan's best, a sappy Fatal Attraction rip-off with Moore as a doctor who hires prostitute Seyfired to "test" her professor husband (Neeson) to see "how far he will go". The premise is idiotic and the execution isn't much better, but Moore rises above the material. Seyfired does not, and Neeson is hardly in the thing.
Thieriot as the couple's budding concert pianist son is given some nice moments, but his character has nowhere to go.
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Big Magilla
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Big Magilla
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Welcome to the Rileys (Jake Scott 7.5/10
Surprisingly good slice-of-life drama from Ridley Scott's son.
James Gandolfini plays a middle-aged small business owner from Indianapolis attending a convention in New Orleans where he meets and decides to act as surrogate father to a 16 year-old stripper/prostitute, played by Kristen Stewart.
Gandolfini and Stewart are both fine, but Melissa Leo in what is quite possibly her most understated performance ever, steals the film as Gandolfini's wife, a woman so scarred by life after the death of her teenage daughter that she refuses to leave the house until Gandolfini tells her he isn't coming home and she gets in her car and drives all the way to New Orleans and moves in with him and the girl.
An unrecognizable Ally Sheedy makes a brief appearance as Leo's sister.
Surprisingly good slice-of-life drama from Ridley Scott's son.
James Gandolfini plays a middle-aged small business owner from Indianapolis attending a convention in New Orleans where he meets and decides to act as surrogate father to a 16 year-old stripper/prostitute, played by Kristen Stewart.
Gandolfini and Stewart are both fine, but Melissa Leo in what is quite possibly her most understated performance ever, steals the film as Gandolfini's wife, a woman so scarred by life after the death of her teenage daughter that she refuses to leave the house until Gandolfini tells her he isn't coming home and she gets in her car and drives all the way to New Orleans and moves in with him and the girl.
An unrecognizable Ally Sheedy makes a brief appearance as Leo's sister.
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The Original BJ
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I thought Exit Through the Gift Shop was a fairly delightful movie.
One of things I like best about it is the way it contrasts the characters of Bansky and Thierry. Bansky is an artist whose work is mostly ephemeral -- his street art can be enjoyed for brief moments, but it isn't meant to last. And yet here he is making a film -- something that WILL last. There's something fairly resonant about his desire to even make this movie, to preserve his legacy in a form that won't be gone overnight.
And then you've got Thierry, who documents EVERYTHING, even the most mundane of moments, with his camera. (I assume all that home video footage was real.) It's quite rewarding to see him move in the other direction -- to give up the need to keep a record of everything and just live in the moment, i.e. create art that isn't meant to last. (Whether that movement was spontaneous or planned is neither here nor there, for me.)
I think this contrast makes the movie, in its strange way, oddly touching, in addition to being informative, puzzling, and oft-hilarious.
Of the four nominated docs I've seen (all but Waste Land), this one is my favorite so far.
One of things I like best about it is the way it contrasts the characters of Bansky and Thierry. Bansky is an artist whose work is mostly ephemeral -- his street art can be enjoyed for brief moments, but it isn't meant to last. And yet here he is making a film -- something that WILL last. There's something fairly resonant about his desire to even make this movie, to preserve his legacy in a form that won't be gone overnight.
And then you've got Thierry, who documents EVERYTHING, even the most mundane of moments, with his camera. (I assume all that home video footage was real.) It's quite rewarding to see him move in the other direction -- to give up the need to keep a record of everything and just live in the moment, i.e. create art that isn't meant to last. (Whether that movement was spontaneous or planned is neither here nor there, for me.)
I think this contrast makes the movie, in its strange way, oddly touching, in addition to being informative, puzzling, and oft-hilarious.
Of the four nominated docs I've seen (all but Waste Land), this one is my favorite so far.