Archive for the Event Category

Best & Worst of the 2012 Academy Awards

Posted in Celebrities, Event, Movies, TV with tags , , , on February 27, 2012 by Sarah

I kept lamenting throughout the night that no one was cutting to Benedict Cumberbatch during the Oscars, but it turns out, he wasn’t there. He was at Elton John’s viewing party, which lets the telecast director off the hook—though not for also failing to keep a camera on Colin Firth as he walked out on stage—but then it leads me to wonder why a man who was in two nominated films, one of them a Best Picture candidate, and who is one of the hottest things happening in town right now, wasn’t there. Seating at the Kodak Theater is dicey—it’s not as big as a venue that hosts the Oscars should be and tickets are competitive even for nominated parties—but you would think someone could make room for Cumberbatch. Anywho.

The fashion was the most interesting aspect of the show, as Billy Crystal and his writing staff kept things pretty tame and the theme of the night was apparently “please go to the theater before they all close”. Between the unnecessarily nostalgic tone and the fact that the average viewer at home hadn’t seen two-thirds of the nominated movies, it made for a boring telecast. So let’s do what we do best and judge people we don’t know based solely on what they wore for one night out of their life.

Best Dressed

I actually squealed out loud when I saw The Office and Bridesmaids star Ellie Kemper in this Armani Prive gown. The color is a dead match for her pale complexion and dark auburn hair, the gown is gorgeous, the fit is stellar, the styling is superb. Here’s how good she looks—I don’t hate her barrel-rolled bangs! This was the most flawless look of the night for me. I would not change one single thing about how she looks right here.

A close second is Michelle Williams in Louis Vuitton. I’m not the biggest Williams fan—I’m always glad for a chance to mock her and her second virginity. But I loved this red/orange LV dress. I don’t even mind the peplum! I think I could do without it—if I could change one thing about this look I would abandon the peplum. But it doesn’t ruin the look for me. Besides, Michelle is much too precious to show us her bum in a fitted gown. Oh see, there you go. I can’t help myself.

Worst Dressed

It pains me to put Sandra Bullock on this list, but her Marchesa gown is awful. It doesn’t fit, the stitching around her hips is unflattering, and WTF was happening with her face. Either her ponytail was too tight (the classic Croydon facelift) or she’s hit the Botox recently. Also, her nose. What is going on with her nose. We speculated during the show that she’d had a (bad) nose job. We should NEVER be speculating that Sandra Bullock has had a nose job.

Also hurting me last night was Viola Davis in emerald green Vera Wang. I love the color her on her. Davis has such gorgeous skin and this dress makes her glow, and I’m down with her au natural hair, but I loathe the bodice on this dress. Davis has the distressing tendency to show us more of her boobs than I particularly care to see. They’re nice and everything, but I don’t need to see them. I think I could handle the skirt of this dress if the bodice was simpler. As it is, there’s too much going on and the level of exposure is distasteful.

Almost But Not Quite

I’ve got four of these this year, so let’s run them down quickly. First up, Gwyneth Paltrow in white Tom Ford. I love the gown in and of itself, I ADORE the cuff, and I’m indifferent to the cape. I like the cape in theory, and ten years ago, when G was still owning her “I’m a bitch and I’m better than you” thing, I would’ve loved this without question. But the G who writes cookbooks and blathers on about healthy living and mommyhood? She can’t quite carry off the cape.

Next up, Jessica Chastain in Alexander McQueen. I’m totally into her styling and the black/gold color combination. I’m into the cut of the dress. I’m not crazy about how much like Las Vegas brothel curtains it looks, or about how it’s fitting Chastain’s chest. The first thing I noticed when I saw this dress was how it was pinching Chastain’s underarms and gaping across her boobs. The poor tailoring is holding it back.

Which brings us to Rooney Mara in Givenchy. I am also down with her styling—especially the makeup which combines her now-trademark red lips with a softer overall effect—and I like the dress, in and of itself. Hate the fit. The top is too loose and even on flat-chested Mara it looks saggy and no one with Mara’s physique should ever look saggy.

And finally, we have Bridesmaids and Damages star Rose Byrne in Vivienne Westwood. The fit here is excellent, the back is particularly interesting, but SHE IS SO THIN IT HURTS ME. Everyone was going on about how skinny Angelina looked, but for my money, I’m more concerned about the rapidly vanishing Rose Byrne. Eat something!

The Funny Ladies – Good

Here’s how you do a peplum: Tina Fey’s custom Carolina Herrera navy trumpet gown with peplum. The architectural quality of the dress, the proportions, the way the flare of the peplum echoes the flare of the skirt—it all works. And Fey looks gorgeous, even if I don’t quite understand what’s happening with her hair.

Also rocking a good look is The DescendantsJudy Greer in Monique Lhuillier. Greer looks sexy—the red hair is very flattering—and glamorous, and the black and silver gown is a perfect choice for someone in a nominated film, but who is not nominated herself. I love Greer. She can do no wrong.

The Funny Ladies – Bad

Ugh, Kristen Wiig, you’re killing me. In and of itself, I like Wiig’s J. Mendel gown. But Wiig has worn neutral/nude A LOT this award season, and her loose, beachy hairstyle feels out of date when the style has clearly moved toward more structured, finished looks. Wiig has been missing the mark consistently this year.

Maya Rudolph in Johanna Johnson is another miss. Rudolph, too, has been failing to impress this season, though this is one of the less offensive dresses she’s worn. However—BOOB SHELF. Anything that gives you a boob shelf is a bad idea.

Danger! Curves Ahead

Octavia Spencer’s sunburst Tadashi Shoji gown is how a curvy lady dresses. The pattern is flattering, the cut is excellent, the tailoring is superb. Spencer looks amazing. This is how you do if you’re working with more than a size two.

Melissa McCarthy in Marina Rinaldi, however, is how you don’t do. I like the color of the dress, and the shape, but I hate the neckline and the sleeves. Imagine this dress without the jeweled yoke collar and just a regular halter cut, and replace the sleeves with an embroidered bolero. See? Better, right? I will give McCarthy props for fabulous makeup and hair—she looked really pretty, but the dress did not do her justice.

Dressing Your Age – Grande Dames

Meryl Streep wore gold Lanvin and it was the exact same shade as the Oscar she won. This isn’t the greatest dress I’ve ever seen, but given that Streep is just as likely to show up in a men’s shirt and taffeta skirt as she is in a proper-styled gown, I’m down with her look. The color was particularly flattering, setting off her fantastic skin. I really need someone to ask her what she’s doing to keep her skin looking so amazing.

Another lady of a certain age who is likely to wear something totally bizarre is Glenn Close, who chose a deep teal Zac Posen number. I love it, but I bet a lot of you hate it. I love the detailing on the corset, and on the fishtail, and I LOVE that she wore a tuxedo jacket over it. I have an awesome tuxedo vest, but have been on the lookout for a good tuxedo jacket. I want Glenn Close’s.

Dressing Your Age – Little Women

On the other end of the spectrum, we have Shailene Woodley in a long-sleeved Valentino. Again, I love this but I bet a lot of you hate it. The thing is, Woodley is young and off-beat  and genuinely doesn’t care to a degree that allows her to get away with wearing some of the more oddball fashions. And the styling is beautiful.

Not scoring as well but still getting points for trying is Emma Stone in Giambattista Valli. The central problem with this dress is that it is far too close to Nicole Kidman’s famous 2007 Balenciaga dress. But the secondary issue is that neck/shoulder bows are pretty much never a good idea. Kidman barely managed it herself and she’s a bona fide fashion icon. Stone is trying, she’s willing to push it, which I appreciate, but she—or her stylist—should have known this dress was ill-advised.

Leggiest Leg Award

Stop the presses—Angelina Jolie wore a black Versace gown. Surprising, I know. (Can you sense the sarcasm?) But still, she looked gorgeous, and the structured dress was a change from her usual sack. The lighter hair color suits her well, too. She looked really happy and fresh, if a bit too thin, and I was really into the bustle on the dress. But of course, it was Jim Rash (Community’s Dean Pelton) who made the night.

Princess Prisoner Bride

SOMEONE HELP HER TO BE FREE.

Picks for the Oscar pool

Posted in Event, Movies, TV with tags , , , , , on February 24, 2012 by Sarah

I called this the “worst Oscar roster in recent memory” when the nominations came out a month ago. I stand by that. In the time since then, I’ve come to realize that in almost every category, the best movie/person wasn’t nominated. In a lot of categories, there are 3+ movies/people that didn’t get nominated. We’re not picking the best of anything this year. We’re picking runners-up and honorable mentions. 2012 might as well be called “the year of the also-rans”. This is definitely a year that we’ll have to revisit with the Ethels in five years.

Which makes this a tough year for predicting winners. I think the major categories are pretty well set, but the minor ones are going to be a trap for those of us participating in betting pools this weekend. I’m not nearly as confident in my picks this year as I was last year. But, for what it’s worth, here are my “will wins” and “should wins” for the 2012 Oscars. Keeping in mind, of course, that the real “should wins” comprise an entirely different nominee roster for a ceremony taking place in an alternate universe, in which The Help received zero nominations and Drive got ten, Tinker Tailor Soldier Spy got eight, Win Win got six, and Tyrannosaur and 50/50 got three apiece. Also in that alternate universe, Patton Oswalt is an Academy Award nominee. I WANT TO LIVE IN THAT WORLD.

Best Picture

Who will win: The Artist

Who should win: The Tree of Life

I wouldn’t have even kept Tree of Life on the ballot, but since it’s here and it’s better than everything else, I’ll give it the “should win”. I would also entertain defenses of The Descendants, though. But if you’re gambling, The Artist has this on lock-down.

Best Director

Who will win: Michel Hazanavicius, The Artist

Who should win: Terrence Malick, The Tree of Life

For the same reasons as above. Would also hear cases for Alexander Payne (The Descendants).

Best Actor

Who will win: Jean Dujardin, The Artist

Who should win: Gary Oldman, Tinker Tailor Soldier Spy

Well, the two best male performances of the year weren’t even nominated and the third best isn’t going to win. This is such a mess. How does this happen? I mean, I know how—The Fassbender’s movie was too sexy and The Gos’s too violent—but still, HOW DOES THIS HAPPEN? You’re voting for the best acting performances, not passing moral judgment. Anyway, my theory that Oldman could sneak in an upset win because enough people would be reluctant to choose between Brad Pitt and George Clooney—because they have the same friends and supporters—is paying off, but not for Oldman. No, it’s that sexy French beast Dujardin who’s benefitting from the split vote.

Best Actress

Who will win: Viola Davis, The Help

Who should win: Michelle Williams, My Week with Marilyn

Again, we’re missing the top female performances—THREE of them—but for what we’ve got to work with, Williams is the most deserving winner. Davis was really good in White Guilt: The Movie, though, and I don’t begrudge her the win. I just wish this category was made up of the legitimately best performances, not “Aww, Glenn Close finally got that movie made” and “Meryl Streep because of being Meryl Streep”.

Best Supporting Actor

Who will win: Christopher Plummer, Beginners

Who should win: Christopher Plummer, Beginners

I won’t argue with this one. Plummer is excellent in Beginners and he’s had this signed, sealed and delivered since last summer. I just wish Don Cheadle (The Guard), Benedict Cumberbatch (Tinker Tailor Soldier Spy) and Patton Oswalt (Young Adult) were nominated alongside him.

Best Supporting Actress

Who will win: Octavia Spencer, The Help

Who should win: Octavia Spencer, The Help

This is me just giving up. If Jessica Chastain was nominated for The Tree of Life, I’d say she should win this, but as this category stands, I couldn’t in good conscience vote for any of these people. I’m not even sure how this entire category happened. Had they been drinking?

Best Animated Feature

Who will win: Rango

Who should win: Rango

I’m okay with this category. Rango was solid and the animation was gorgeous. If you’re looking for an upset, though, it could come from A Cat in Paris.

Best Foreign Language Film

Who will win: A Separation (Iran)

Who should win: A Separation (Iran)

This is another one I’m okay with. I wish that Pedro Almodovar’s The Skin I Live In was nominated, but I wouldn’t have picked it over A Separation. Another slam-dunk for your betting pool.

Best Documentary

Who will win: Undefeated

Who should win: Undefeated

This category is a travesty. The two best docs of 2011, Senna and Werner Herzog’s Into the Abyss were disqualified over stupid rules (that are probably changing anyway). This could be a close call with Paradise Lost 3, which has the benefit of being topical, as it’s about the West Memphis Three, but Undefeated is basically Friday Night Lights + The Blind Side but in real life. It’s heart warming and life affirming, so I think it wins.

Best Original Screenplay

Who will win: Woody Allen, Midnight in Paris

Who should win: JC Chandor, Margin Call

Allen gets a late-in-career Oscar thanks to the box office success and critical popularity of Midnight in Paris, his most accessible/enjoyable movie in years. I am not a Woody Allen fan, and I didn’t hate Paris, so it was definitely a decent movie. But Chandor’s script for Margin Call is insanely good and had some of the best dialogue in 2011.

Best Adapted Screenplay

Who will win: Alexander Payne, Nat Faxon & Jim Rash, The Descendants

Who should win: Bridget O’Connor & Peter Straughn, Tinker Tailor Soldier Spy

This should definitely be O’Connor and Straughn for their elegant condensation of a complex text, but I’m not going to complain about Dean Pelton winning an Oscar.

Best Cinematography

Who will win: Emmanuel Lubezki, The Tree of Life

Who should win: Emmanuel Lubezki, The Tree of Life

I’m not 100% confident in this pick, but Lubezki seems to have the momentum going into Sunday, and though Tree of Life was divisive, the cinematography was widely admired. Could be a Guillaume Schiffman (The Artist) surprise, though.

Best Film Editing

Who will win: Anne-Sophie Bion and Michel Hazanavicius, The Artist

Who should win: Christopher Tellefsen, Moneyball

Yet another category that could be totally redone with five more deserving nominees. Working with what we’ve got, though, The Artist is the favorite but Moneyball is my personal pick. Should The Artist not come through on this early category, look for upsets in the Director and Picture races.

Best Art Direction

Who will win: Dante Ferretti and Francesca Lo Schiavo, Hugo

Who should win: Stuart Craig and Stephenie McMillan, Harry Potter and the Deathly Hallows part 2

Ferretti is a very well respected production designer and this would be his third Oscar. The odds are in his favor, but an HP upset would not surprise me.

Best Costume Design

Who will win: Sandy Powell, Hugo

Who should win: Michael O’Connor, Jane Eyre

The mid-Victorian fashions of Jane Eyre are not sexy—Jane is plainly dressed throughout the film and Rochester appears in varying staged of dishevelment. But O’Connor’s designs are spot-on and completely realistic. There’s no attempt to glamorize Jane, instead dressing her in the severe, unflattering colors and styles of a poor woman. Rochester’s suits are considerably more fashionable, but there’s a wear to them that speaks to a man unconcerned with fashion. But they are not flashy costumes and Hugo got to play in a fantastical version of Coco Chanel’s Paris, so it will win the Oscar.

Best Makeup

Who will win: Mark Coulier and J. Roy Helland, The Iron Lady

Who should win: Nick Dudman, Amanda Knight and Lisa Tomblin, Harry Potter and the Deathly Hallows part 2

I’m not sure which was worse old age makeup—old Margaret Thatcher or old Harry Potter. Still, HP 7-2 employed spot-on makeup work throughout the series, but especially in the final chapter, when Harry seemed to age twenty years in a day after the Battle of Hogwarts. Also, Voldemort’s non-nose should be enough to get this and the VFX Oscar. Should, not will.

Best Original Score

Who will win: Ludovic Bource, The Artist

Who should win: Alberto Iglesias, Tinker Tailor Soldier Spy

Bource’s score does a lot of heavy lifting in The Artist, as it stands in for the dialogue, but Iglesias’s jazz-inspired score for Tinker Tailor evoked the dingier side of the 1970’s beautifully. It plays like a jazz recording, not a film score.

Best Original Song

Who will win: “Man or Muppet”, The Muppets, Bret McKenzie

Who should win: Same

There are only two nominees and one is from the Muppet movie and is written by one-half of Flight of the Conchords. The other is from Rio and sounds like a travel agency ad. McKenzie has his first Oscar well in hand.

Best Sound Editing

Who will win: Hugo

Who should win: Drive

If there’s an upset in this category, it will be for Drive.

Best Sound Mixing

Who will win: Hugo

Who should win: War Horse

I think Hugo has both sound categories pretty well locked down, but if you’re looking for an outside chance, War Horse is your best bet.

Best Visual Effects

Who will win: Harry Potter and the Deathly Hallows part 2

Who should win: HP 7-2

I’m predicting the Harry Potter upset here. The odds are on Rise of the Planet of the Apes but I’ve heard from enough disgruntled Academy voters that did not like the aggressive “Andy Serkis for Oscar” campaign that I think their annoyance will spill over into this category. Also, HP has been the biggest movie franchise for a decade and this is the last chance to give it some hardware.

Best Short Film – Animated

Who will win: The Fantastic Flying Books of Mr. Morris Lessmore

Who should win: The Fantastic Flying Books of Mr. Morris Lessmore

I actually saw this one—it’s really good and it’s whimsical and artsy, which is right up the Academy’s alley.

Best Short Film – Live Action

Who will win: The Shore

Who should win: Oh my god who knows?

Best Documentary – Short Subject

Who will win: The Tsunami and the Cherry Blossom

Who should win: Um, this one?

Welcome to the second annual Ethel Awards

Posted in Event, Movies with tags , , , , , on February 22, 2012 by Sarah

Last year I introduced the Ethel Awards (so called because “Oscar” sounds like a grumpy old man and “Ethel” a grumpy old lady), in which we revisit Oscars past to correct the Academy’s many errors in giving out the little gold man. There are only two rules: 1) At least five years must have lapsed before the ceremony is eligible for revision, and 2) as much as possible, I try to make the corrections from the available pool of nominees, but if the oversight was so egregious that the deserving film wasn’t even nominated, I reserve the right to award non-nominated films. Last year, I revisited the 1999 Academy Awards and this year we’re taking a look at the 73rd Academy Awards, honoring movies released in 2000, or, The Year of Gladiator. As before, we’re redoing all the categories except the shorts, song and documentary. Please note that 2000 was before Best Animated Feature was introduced as a category. That happened one year later for 2001 films.

Best Visual Effects

Oscar: Gladiator

Ethel: The Perfect Storm

I’m going to say this right off the top—I really, really like Gladiator. I really super liked it in 2000, and I still super like it today. Do I think it was the best movie made that year? No. But I still pull it out and watch it, because it’s really fucking cool. That said, the VFX Oscar should have gone to Wolfgang Peterson’s The Perfect Storm. Why? Because even though the CGI is over a decade old, and thus, totally out of date, it’s still some of the best-looking fake water on film. If you’re a regular reader, you should know that my least favorite VFX are CG water and fire. Water always looks heavy and oily, yet in The Perfect Storm it blends quite seamlessly with the real water footage. This is in large part to the pioneering use of digital processing and projection techniques Peterson and his VFX team used. Also, Gladiator’s main use of VFX came in the early battle scenes, which only one year later would be put to shame by Lord of the Rings and the introduction of Weta’s Massive program, which forever changed how crowd shots are staged. In hindsight, Gladiator is not as impressive.

Best Art Direction

Oscar: Crouching Tiger, Hidden Dragon

Ethel: Crouching Tiger, Hidden Dragon

This award stands. Have you seen Crouching Tiger lately? Somehow, it looks better now than it did in 2000. The art direction is gorgeous.

Best Costume Design

Oscar: Gladiator

Ethel: O Brother, Where Art Thou?

Gladiator’s costumes were solid, but I don’t really remember them. Like, I couldn’t describe one beyond “leather skirts”. Meanwhile, the un-nominated O Brother flawlessly recreated 1930’s fashion. But the real reason it deserves this award is for including sartorial references to classic films like Cool Hand Luke, which is from a different era, and still looking 1930’s authentic.

Best Makeup

Oscar: How the Grinch Stole Christmas

Ethel: Shadow of the Vampire

Jim Carrey in a lime green fur suit was nice, sure. But the prosthetics on his face limited his range of expressions and he never looked wholly comfortable in the body suit. Meanwhile, Ann Buchanan and Amber Sibley transformed Willem Dafoe into Max Schreck, the creepy star of FW Murnau’s silent classic, Nosferatu. It’s a major makeup job that is still subtle and organic. Way more deserving than the knee-jerk pick of “guy in fur suit with prosthetic face”. Let’s put it this way: The Cat in the Hat movie used the same makeup process on Mike Meyers and won no Oscars.

Best Film Editing

Oscar: Traffic

Ethel: Traffic

The editing in Traffic was so good that people actually noticed Steven Soderbergh’s use of a multi-color palette. Also, that was a long, complicated story that got told in a facile way without having to keep reiterating where we were and who was doing was what. Ace editing from Stephen Mirrione.

Best Cinematography

Oscar: Crouching Tiger, Hidden Dragon

Ethel: O Brother, Where Art Thou?

I don’t know how O Brother, Where Are Thou? got so overlooked come Oscar time in 2001, but it did. Roger Deakins’ cinematography is always good, and in O Brother he brought a fantastical element to his usual lyrical style. It’s a really lovely movie to look at, and there are a handful of images that have stuck with me for over a decade. Crouching Tiger is beautiful, too, but it’s more the sum total of all its parts than the cinematography at work, where for O Brother, cinematography is one of the selling points.

Best Sound Editing and Sound Mixing

Oscar: U-571 (Editing), Gladiator (Mixing)

Ethel: Gladiator (both)

These categories really need to be combined into one and called Sound Design. I’ll just keep repeating that until it happens. Somehow, Gladiator didn’t even get an Editing nod, which is bullshit, since the sound was—and is—awesome.

Best Score

Oscar: Crouching Tiger, Hidden Dragon

Ethel: Crouching Tiger, Hidden Dragon

This one stands. Tan Dun’s score is lovely.

Best Foreign Language Film

Oscar: Crouching Tiger, Hidden Dragon

Ethel: Amores Perros

Here’s my central problem with the Foreign Language Oscar: It’s kind of a cop out. It gives the Academy a place to drop those pesky sub-titled movies instead of dealing with them as equal to English-language films. I mean, explain to me how something can win Best Foreign Language Film and yet be nominated for, and lose, Best Picture? Besides the language barrier, WHAT IS THE DIFFERENCE? Ditto all of this for Best Animated Feature.

Best Adapted Screenplay

Oscar: Traffic

Ethel: O Brother, Where Art Thou?

Joel & Ethan Coen adapted Homer’s Odyssey into a Depression-era prison break buddy comedy. AND IT WORKED ON EVERY LEVEL.

Best Original Screenplay

Oscar: Almost Famous

Ethel: You Can Count on Me

Let’s call this for what it is—Cameron Crowe’s make-up Oscar for Say Anything. Compared to that, and his 1996 nomination for Jerry Maguire, Almost Famous is an also-ran. I can hear you yelling at me already, but this movie does not hold up as well as Crowe’s earlier work. Meanwhile, Kenneth Lonergan crafted a deeply moving story about all the ways siblings can hurt and disappoint one another. Lonergan is a desperately under-recognized writer.

Best Supporting Actor

Oscar: Benicio del Toro, Traffic

Ethel: Willem Dafoe, Shadow of the Vampire

This one is mostly just personal preference. I’m perfectly happy to let del Toro keep his Oscar, except in this scenario where I get to go back in time and take it away and give it to someone else. That someone else being Dafoe, who was sublimely creepy as silent film star Max Schreck. But Traffic was a big hit that year and no one saw Dafoe in Shadow, so del Toro got the popular vote.

Best Supporting Actress

Oscar: Marcia Gay Harden, Pollock

Ethel: Marcia Gay Harden, Pollock

Pollock is another one that kind of baffles me—how did it get so overlooked? It’s a great movie. This was the right call—Harden is great as Lee Krasner, Jackson Pollock’s wife/manager, and an outstanding artist in her own right who was overshadowed by her dramatic, drunk husband. What I remember most about Harden’s performance was how pinched and worried she looked throughout the film, and then her final scene, after Pollock’s death, how free and beautiful she was as she painted in his studio.

Best Actor

Oscar: Russell Crowe, Gladiator

Ethel: George Clooney, O Brother, Where Art Thou?

I know, I know—you’re sick of Clooney. But remember, we’re talking about the Clooney of 2000, not 2012. He wasn’t even nominated for this—gross oversight—but O Brother remains his best performance to date. The Descendants gets close, but doesn’t quite top this one. Don’t you remember how shocked you were at how good he was? I’d give him this Oscar over giving him one this year for The Descandants.

Best Actress

Oscar: Julia Roberts, Erin Brockovich

Ethel: Joan Allen, The Contender

HAHAHAHAHAHA OMG this looks like such a joke, eleven years later. Don’t get me wrong, Roberts is really good—at her best, even—as Brockovich. I’m just saying that Julia Roberts at her best is not better than Joan Allen, Ellen Burstyn, who was up for Requiem for a Dream, Laura Linney, for You Can Count on Me, and Juliette Binoche in Chocolat. You could make a case for Binoche vs. Roberts, but Allen, Burstyn and Linney trounce all over her. My pick for a replacement win is Allen, who balanced a frosty, brittle exterior with a deep well of conviction and strength as a political candidate in The Contender, but I’ll entertain arguments on behalf of Burstyn’s drug-addled mother in Requiem, too. Either way, Roberts didn’t deserve this Oscar.

Best Director


Oscar: Steven Soderbergh, Traffic

Ethel: Ang Lee, Crouching Tiger, Hidden Dragon

These Oscars was a year where the Director and Picture awards were split. That doesn’t happen a lot. Traffic was good, but it wasn’t Soderbergh’s best directorial effort (still, to this day, that’s Out of Sight). It’s long and kind of draggy, and I think he was mostly being awarded for widening his scope. Which, recognize it, sure, but Lee created a masterpiece with Crouching Tiger. Is Traffic a masterpiece? No.

Best Picture

Oscar: Gladiator

Ethel: Crouching Tiger, Hidden Dragon

Did you know that Chocolat was nominated for Best Picture? I liked Chocolat and everything, but really? Over O Brother, Where Art Thou? REALLY? Anyway, this should have gone to Crouching Tiger, which had all the same ferocious action as Gladiator and twice the plot. Also, it was better. Again, I liked Gladiator. But can you look me in the electrical face and tell me that it was THE BEST MOVIE of 2000? I stand by its nomination but the win belongs to Crouching Tiger.

One of the worst Oscar rosters in recent memory

Posted in Event, Movies with tags , , , , on January 24, 2012 by Sarah

2011 was divisive. We knew that. There’s been a lack of consensus about what was good and what was bad that’s so strongly marked many called 2011 a shit year for films. That’s not true, but it was a year that failed to produce a masterpiece (um, most years fail to produce masterpieces). 2011 had so many films that appealed to wildly different tastes that everyone knew the Oscar nominations were going to be a mess. The last couple of months have seen plenty of bitching about The Descendants—I loved it but many think it’s overrated—and The Artist—many love it but I think it’s overrated—and Hugo and War Horse come from venerable directors but neither are either’s best work (and neither will matter in five years). There was also an abundance of excellent acting in 2011, which guaranteed that each of the four acting categories would feature prominent snubs.

Where the Oscar nominations irk me this year is in their complete lack of imagination. The Academy has certain tastes that dictate a lot of the decision making, but given how split opinions were in 2011, this would have been a good year to step outside those zones and explore more options for nominees. For instance, the actors almost always nominate hand-wavy, attention-getting performances. This is how I knew Ryan Gosling, despite throwing down an amazing performance in Drive, wouldn’t get nominated—he barely said three words together throughout the film and his biggest moments were so violent you couldn’t cut them into a sizzle reel for prime time. Ditto for The Fassbender—I thought he’d get nominated simply because he turned in four wildly diverse performances in 2011, but I did worry that Shame, his best chance at a nomination, was too contained to appeal to the people who made Tropic Thunder’s “never go full retard” joke possible.

Here’s the complete list of nominees, below is the list with my corrections for the Year In Oscar That Should Have Been. (We’ll get to handicapping winners in a few weeks, closer to the ceremony.) While there are a lot of changes I’d make, there are some much deserved, surprising nominations that almost balance out the obvious idiocy of a few of these nods. Almost, but not quite.

Best Picture

The Artist – I didn’t love this movie but I’ll accept that I’m in the minority and let it stand.

The Descendants

Extremely Loud and Incredibly Close – Not in a million years. This one was bought and paid for, there’s no other explanation.

The Help – Also a big fat NO. White Guilt: The Movie is in no way one of the best pictures of the year. Best Picture of Cheaply Absolving Hundreds of Years of Racism, sure.

HugoDrive

Midnight in ParisTinker Tailor Soldier Spy

MoneyballWin Win

The Tree of Life – As much as I think The Tree of Life will age better than 99% of this list, I did not think it was one of the best pictures of the year. It’s cut in favor of getting down to just 5 nominees.

War Horse

Best Director

Michel Hazanavicius, The Artist

Alexander Payne, The Descendants

Martin Scorsese, Hugo – Tomas Alfredson, Tinker Tailor Soldier Spy

Woody Allen, Midnight in Paris – I’ll give him the writing but Allen’s direction is not special.

It should be: Paddy Considine, Tyrannosaur

Terrence Malick, The Tree of Life – See, here’s where I leave Tree. Best Picture and Best Director don’t HAVE to go hand-in-hand. There’s nothing wrong with saying a directorial effort can be better than the final product.

Best Adapted Screenplay

Alexander Payne and Nate Faxon & Jim Rash, The Descendants – You guys, the Dean got a nomination!

John Logan, HugoCoriolanus

George Clooney & Grant Heslov and Beau Willimon, The Ides of March – Are you shitting me?

It should be: Hossein Amini, Drive

Steve Zaillian, Aaron Sorkin and Stan Chervin, Moneyball – Discounted for that dumbass family subplot.

It should be: Lynne Ramsey and Rory Kinnear, We Need to Talk About Kevin

Bridget O’Connor & Peter Straughan, Tinker Tailor Soldier Spy

Best Original Screenplay

Michel Hazanavicius, The Artist – I can’t give it this. It’s too obviously a mash-up of Singin’ in the Rain and Sunset Boulevard.

It should be: Tom McCarthy, Win Win

Annie Mumolo & Kristen Wiig, Bridesmaids – Will Reiser, 50/50

J.C. Chandor, Margin Call

Woody Allen, Midnight in Paris

Asghar Farhadi, A Separation – John Michael McDonagh, The Guard

Best Actor

Demian Bichir, A Better Life – A well deserved surprise.

George Clooney, The Descendants – He was good. He was really good. Better than he’s been in a while. But when push comes to shove…

It should be: Ryan Gosling, Drive

Jean Dujardin, The Artist – Look, I’ve let The Artist keep Best Picture/Director but really…

It should be: Peter Mullan, Tryannosaur

Brad Pitt, Moneyball – Bumping him down to Supporting because…

It should be: Michael Fassbender, Shame

Gary Oldman, Tinker Tailor Soldier Spy – HA!

Best Actress

Glenn Close, Albert Nobbs

Viola Davis, The Help – I’m going to let this ride because Davis was so good it was like she was acting in an entirely different, much more serious and sincere film.

Rooney Mara, The Girl with the Dragon Tattoo – Just for never once telling us how ALOOF she is…

It should be: Charlize Theron, Young Adult

Meryl Streep, The Iron LadyWe all love Meryl but please. This was not her best. This was a cartoon.

It should be: Tilda Swinton, We Need to Talk About Kevin

Michelle Williams, My Week with Marilyn

Best Supporting Actor

Christopher Plummer, Beginners

Max von Sydow, Extremely Loud and Incredibly Close – An understandably sentimental pick, but…

It should be: Brad Pitt, The Tree of Life

Kenneth Branagh, My Week with Marilyn – Once I saw this movie this nomination felt inevitable, but…

It should be: Alex Shaffer, Win Win

Jonah Hill, Moneyball – You know what? YES. Also, if I’m Sony marketing, I’m working on a new ad campaign for 21 Jump Street today.

Nick Nolte, Warrior – He was good. He was. The whole movie was better than advertised. But this is sentiment again.

It should be: Benedict Cumberbatch, Tinker Tailor Soldier Spy

Best Supporting Actress

Berenice Bejo, The Artist ­– Olivia Colman, Tyrannosaur

Melissa McCarthy, Bridesmaids – If you’re okay going back in time to give Zach Galifianakis an Oscar nod for The Hangover, then fine. Otherwise…

It should be: Amy Ryan, Win Win

Jessica Chastain, The HelpThe Tree of Life

Octavia Spencer, The Help

Janet McTeer, Albert Nobbs

Best Cinematography

Guillame Schiffman, The Artist

Jeff Cronenweth, The Girl with the Dragon Tattoo

Robert Richardson, Hugo

Emmanuel Lubezki, The Tree of Life

Janusz Kaminski, War Horse – Spielberg & Co. will have Lincoln in 2012, and by all accounts, even mid-production it’s already better than War Horse.

It should be: Hoyte van Hoytema, Tinker Tailor Soldier Spy

Best Film Editing

Anne-Sophie Bion and Michel Hazanavicius, The Artist – Matthew Newman, Drive

Kevin Tent, The Descendants – Here’s a prime example of Oscar groupthink. The Descendants is well made, yes, and one of the best of the year, yes, but it’s editing was not extraordinary. But because it gets the big noms, it gets the little ones by default, too.

It should be: Dino Jonsater, Tinker Tailor Soldier Spy

Kirk Baxter and Angus Wall, The Girl with the Dragon Tattoo

Thelma Schoonmaker, Hugo – Mark Day, Harry Potter and the Deathly Hallows part 2

Christopher Tellefsen, Moneyball – GROUPTHINK. And yes, I’m going here, because this movie by rights should have been a mess but it was actually very well edited…

It should be: Paul Hirsch, Mission: Impossible – Ghost Protocol

Best Art Direction

Laurence Bennett and Robert Gould, The Artist

Stuart Craig and Stephenie McMillan, Harry Potter and the Deathly Hallows part 2

Dante Ferretti and Francesca Lo Schiavo, Hugo

Anne Seibel and Helene Dubreuil, Midnight in Paris – Rachael Ferrera, Like Crazy

Rick Carter and Lee Sandales, War Horse – Tom Brown and ZsuZsa Kismarty-Lechner, Tinker Tailor Soldier Spy

Best Costume Design

Lisy Christl, Anonymous

Mark Bridges, The Artist

Sandy Powell, Hugo

Michael O’Connor, Jane Eyre

Arianne Phillips, W.E. – Madonna’s movie blows so bad not even costumes can save it. Plus, half the movie is contemporary and look at this list. Contemporary doesn’t cut it.

It should be: Anna B. Sheppard, Captain America: The First Avenger

Best Makeup

Martial Cornville, Lynn Johnston and Matthew Mungle, Albert Nobbs

Nick Dudman, Amanda Knight and Lisa Tomblin, Harry Potter and the Deathly Hallows part 2

Mark Coulier and J. Roy Helland, The Iron Lady

Addition: Helen Barrett and Paul Boyce, Captain America: The First Avenger – Deserved for the Red Skull alone.

Best Visual Effects

Harry Potter and the Deathly Hallows part 2

Hugo

Real Steel – Traditionally a category where you see bad movies, this is pushing it even by those standards. The robot boxing scenes were messy and headache-inducing.

It should be: Captain America: The First Avenger

Rise of the Planet of the Apes – And this is as close as you’re getting, Serkis.

Transformers: Dark of the Moon – An example of a bad movie with stellar effects. Don’t take out our Michael-Bay-rage on the below the line technicians, who did stellar work.

Best Original Score

John Williams, The Adventures of TinTin – 2011 was an off year for Williams, who usually churns out top score after top score.

It should be: Alexandre Desplat, Harry Potter and the Deathly Hallows part 2

Ludovic Bource, The Artist

Howard Shore, Hugo – More Oscar groupthink.

It should be: The Chemical Brothers, Hanna

Alberto Iglesias, Tinker Tailor Solider Spy

John Williams, War Horse – Oh my god did I ever hate this score.

It should be: Cliff Martinez, Drive

Best Original Song

“Man or Muppet” by Bret McKenzie, The Muppets – One half of Flight of the Conchords is now an Oscar nominee.

“Real in Rio” by Sergio Mendes, Carlinhos Brown and Siedah Garrett, Rio

Addition: “Life is a Happy Song” by Bret McKenzie, The Muppets

Addition: “The Star Spangled Man with a Plan” by Alan Menken and David Zippel, Captain America: The First Avenger – Poor Cap really suffered from Superhero Slight this year. It should’ve picked up a host of technical nominations and got snubbed across the board, but this is the worst one. This song is everything that Best Song is about—it’s a good piece of music that fits seamlessly into the film.

Best Sound Editing

Drive

The Girl with the Dragon Tattoo

Hugo

Transformers: Dark of the Moon

War Horse

Except for the fact that Sound Editing and Sound Mixing should be one category called Sound Design, I have no complaint with any of these nominees, except…

Best Sound Mixing

The Girl with the Dragon Tattoo

Hugo

Moneyball Captain America: The First Avenger

Transformers: Dark of the Moon

War Horse

Best Foreign Language Film

Bullhead (Belgium)The Last Circus (Spain)

Footnote (Israel)

In Darkness (Poland)

Monsieur Lazhar (Canada) – French-Canadian isn’t a real language because Canada isn’t a real country.

It should be: The Skin I Live In (Spain)

A Separation (Iran)

Best Animated Feature Film

A Cat in Paris

Chico & Rita

Kung Fun Panda 2

Puss in Boots

Rango

Best Documentary (Feature)

Hell and Back Again – I have nothing against this movie but I’ve never heard of it and there was a major oversight in this category.

It should be: Buck

If a Tree Falls: A Story of the Earth Liberation Front

Paradise Lost 3: Purgatory

Pina

Undefeated Cave of Forgotten Dreams

This whole category is bullshit because three of the best docs of 2011 (Senna, The Interrupters, Into the Abyss) were disqualified through weird myopic Academy rules.

Best Documentary (Short Subject)

The Barber of Birmingham: Foot Soldier of the Civil Rights Movement

God is the Bigger Elvis

Incident in New Baghdad

Okay, sure.

Best Live Action Short

Pentecost

Raju

The Shore

Time Freak

Tuba Atlantic

Yeah, fine.

Best Animated Short

Dimanche/Sunday

The Fantastic Flying Books of Mr. Morris Lessmore

La Luna

A Morning Stroll

Wild Life

If you say so.

Best and worst of the 2012 Golden Globes

Posted in Celebrities, Event with tags , , , , on January 16, 2012 by Sarah

It occurred to me about 2 o’clock on Sunday that I’d forgotten to do my Golden Globe predictions. Oh well. I would’ve guessed The Artist and The Descendants for everything anyway, but I definitely would not have gotten Martin Scorsese for Best Director or Octavia Spencer for Best Supporting Actress. You can see the complete list of winners here. The Golden Globes are not a solid predictor of the Oscars because Oscar ballots are already returned before the Globes announce their winners, but I do think the nominee lists can and do overlap a great deal. For all the politicking that goes into the Oscars, there is still a large percentage of voters who are just lazy and/or indifferent who look at who gets nominated for the Globes and think, “Oh, I heard he/she/that movie was good, so I’ll put them down, too.” All the major Oscar nominees were at the Globes last night.

As for the best and worst dressed, you may notice there are no men on this list. Between the fact that they all looked the same—Colin Firth’s tux was astoundingly well tailored but it still looked like every other tux on the red carpet—I also had a terrible time finding fashion IDs for them, so I gave up. As always with Cinesnark, laziness is the rule, not the exception. On to the best and worst dressed, which we’ll fight about, no doubt.

Best Dressed

Nicole Kidman made a return to my good graces in a studded Versace gown. I used to love Nicole 10-12 years ago. You know, the Divorce Years in the early aughts, when she had Moulin Rouge and that dark ruby red hair and was free and fun, post-Tom Cruise. Then…it started to freeze. Not fade, no, because despite whatever fear Nicole is nursing about aging, beauty like hers doesn’t fade. Not with that bone structure. But it did start to freeze. And then her lips, they exploded from the excessive jacking and she got scary and her fashion sense took a nosedive toward the doily and her hair went to that awful platinum shade that didn’t flatter her at all and she made Australia and killed my lady crush. But last night, with red hair once again, her face considerably less frozen and looking less third-lippy, she scored a sartorial win. First, the fit is crazy. She looks thin but not scarecrowy and the pleating on the bodice is doing wonders for her tits. Also, this gown is how Nicole used to be, when she consistently was one of the most fashion-forward people on the red carpet. So, for nostalgia’s sake and because this was one of the most interesting, least-pageant-bullshit gowns of the night, Nicole Kidman gets a tip o’the cap.

Also best dressed was The DescendantsShailene Woodley in, surprise, Marchesa. Usually, Marchesa is total pageant bullshit, but they do occasionally get it right. Last year, I almost loved Olivia Wilde’s Marchesa ballgown, but that dress was too bedazzled for my taste. Woodley’s gown, on the other hand, gets the beaded detailing right. It helps that it’s tone-on-tone, and that Woodley didn’t wear any statement jewelry to compete with the sparkles on her dress. It also helps that this dress is a fitted sheath and not a poofy gown, as it leaves the beaded detailing as the only real design element. It’s surprisingly understated for Marchesa. But where this gown really gets it right is in the absolutely flawless fit and Woodley’s simple styling. I’ve met Shailene Woodley. She’s a sweet girl and a huge hippy. If she showed up in heavy makeup and a sixty-pound ball gown, I’d be disappointed. But her simple, fresh makeup and soft chignon are true to her no-fuss roots. The overall look is young and pretty and decidedly unfussy.

Worst Dressed

The look on Jessica Chastain’s face in this boring, too-tight Givenchy gown clearly says, “Sad dresses make me sad.” It makes me sad, too, Jessie. You wouldn’t know it by looking at her here, but Chastain has a great figure. She’s petite but curvy and has great skin to boot, yet she consistently cannot dress herself in a flattering way. Personally, I think Chastain is a bit indifferent to fashion. Not that she thinks she’s above it or anything, she just isn’t a Fashion Girl and she doesn’t seem to have a particularly keen sense of style. So she leaves everything to a stylist, but her stylist clearly hates her. Dear Jessica: Fire your stylist.

Next up is Freida Pinto in teal blue Prada. It crushes me to put Pinto on this list as I love her and think she’s one of the most beautiful women you’ll find anywhere, and usually she wears interesting stuff on the red carpet. But this gown is not only two sizes too big but it’s so freaking BORING. The color is lovely, yes, and it looks great on Pinto, but that is all the dress has working for it. It’s too big and the belt detail combined with the box pleats is making teeny-tiny Pinto look extra hippy. And the texturing on the dress is less “visually intriguing” and more “cheap flocking”. It’s a bad miss for both Pinto and Prada. And I hate her bump-it hair.

I don’t actually hate Madonna’s Reem Acra gown. It would’ve looked great on, say, The Incomparable Cate Blanchett. It’s less than great on Madonna, however, but she makes this list solely for the way she said “REEM AHCRAH”.

Almost But Not Quite

I really liked Sarah Michelle Gellar in this watercolor/tie-dye print Monique Lhuillier, but it’s slightly too much dress for SMG. Her styling isn’t great and but really, she just doesn’t have enough of an edge for this dress. This dress should be on someone like Evan Rachel Wood, who has the attitude to pull it off, or Sofia Vergara, who makes everything fun. It’s not a bad look on SMG, which is why she’s an “almost”, it’s just not quite the right one for her, either.

Like Freida Pinto, it pains me to not absolutely love whatever Charlize Theron is wearing, in this case, an asymmetrical Dior gown. I think Charlize looks really good, but the diamond headband and overall colorlessness of the look are holding it back for me. Nothing is ever going to induce me to like the headband, but if you must do it, understated is better. Think Carey Mulligan at the 2010 Golden Globes. But the bigger problem is definitely that Charlize is basically a nine-foot-tall taupe stick. The dress, her skin, her hair—it’s all one color. Either pop some color in the makeup or with a colorful clutch, but she needed some oomph to offset the blush colored gown.

Battle of the Yellows

I know that we all wanted to punch Paula Patton in the face last night, but we’re not here to talk about how goddamned fucking annoying she was, ME ME ME-ing the shit out of every moment she could. We’re here to talk about how a number of ladies wore bright yellow (some would call it “Big Bird yellow”) and which of them did it best. In my book, the winner is definitely Paula Patton in a sunshine yellow Monique Lhuillier mermaid gown. The fit is excellent, the shade of yellow is perfect for her complexion, and her styling is solid. Maria Menounos’ yellow dress (couldn’t find the designer) is too tight, and the combination of the bright shade and the sequins is too much, bordering on cheap. And The Killing’s Mireille Enos’ yellow dress is unflattering and a little too grandma-chic with the lacey detailing and saggy bodice. As obnoxious as Patton was, her yellow looks was the best.

Not the Worst Thing Ever

See, this is how you do a colorless gown. Angelina Jolie’s—what are we calling this color? Champagne?—Versace has that red fold on the neckline that she then matched to her clutch and lipstick. That might be a bit too matchy-matchy for some of you, but I thought Angelina looked stunning. First, the dress isn’t a sack. Second, the red fold detail, the lipstick and her sleek hairstyle all emphasize that crazy amazing face. And the fit on this dress is nuts. It’s perfect! Shiny satin is almost impossible to pull off but Angelina does it by dint of tailoring the shit out of it. On anyone else this is not going to be a good look, but given how “Sister Wife No. 7” Angelina usually looks, this is a huge improvement, and thus, not the worst thing ever.

Emma Stone is both interested in fashion and still finding her sartorial voice—which leads to some interesting choices—and this Lanvin goddess gown echoes a look Stone has worked to positive effect before. She tall enough and slender enough to pull off the drapey goddess styles without looking like a feather duster. And this two-tone plum and fuchsia gown is stunning against her pale skin and auburn hair. Love her makeup, too, and her hair style. I don’t love the leather detailing on the dress, though. I would’ve liked it so much more without the epaulets on the shoulders and I definitely would’ve preferred a different, less, um…Third Reich-y belt. I know that’s just an eagle but it looks like it came from an Indiana Jones prop box. Still, Stone has the youth and attitude to work the quirkier styles, which makes this not the worst thing ever.

The Worst Thing Ever

Ah, here is Lea Michele in the bullshit Marchesa we know and loathe. I knew Shailene Woodley’s gown was an aberration. The top half of this dress is that sparkly-and-see-through ice skater chic Marchesa has been working for a couple seasons now, the bottom half is Vegas showgirl. And everything in between is Michele and her ridiculous hard posing (although she was not the biggest perpetrator of this last night). Also awful is her old-lady hair. Michele is a pretty young woman—why must she always dress like she’s a forty-three-year-old divorcee? It’s the worst thing ever.

Natalie Portman in a drunk-bridesmaids-pink Lanvin gown continues her streak as the vomit-inducing Natalie Never. If she keeps this type of bullshit up, I will never ever find a way to like her again. Portman is so pretty and has some real attitude—or she used to, before she created a creation and was taken over by a Stepford wife. This dress is gross. It’s a gross color, a gross style and Portman’s obvious “oh whatever” attitude about wearing it is gross. Natalie Never: The worst thing ever.

Best Trend: Fish Tails

There were a lot of mermaid gowns on the red carpet last night. More than usual, that it. Enough that I’d call it a trend, and it was my favorite of the night. The best examples of the fish tail were easily Evan Rachel Wood in forest-green Gucci and Sofia Vergara in sapphire Vera Wang. ERW’s gown is basically a mermaid costume, with the sequin details done in a fish-scale pattern, but she looks great and she’s legitimately weird enough to wear a mermaid costume on the red carpet and still work it to positive effect. My only wish for ERW is that she would darken the blonde hair a little bit. It’s too harsh and is aging her a bit. Vergara, meanwhile, demonstrates how flattering the fish tail is for curvy girls. The fit of this gown is phenomenal and the boob management is solid, but it’s the proportions that show off her crazy figure that make this such a good look for an hour glass figure.

Worst Trend: Headbands

Ugh. Headbands. I’m never going to like them. If you must wear one, the smaller, sleeker styles are best. Michelle Williams in purple Jason Wu demonstrates how a headband can make a good look go bad. Were it not for her twee and ridiculous headband, she probably would have been my best dressed (although I didn’t love this gown as much as I did her black and white Chanel). And I’m not down with Charlize Theron’s vintage diamond Cartier head piece either. She’s such a beautiful woman; she doesn’t need to gild the lily this much. Also, I feel like wearing such a head piece is basically like saying, “I really want to wear a tiara but don’t have a reason to.” Of course, Charlize was just portraying the Evil Queen in Snow White and the Huntsman, sporting an array of cool crowns. She’s probably still in “bedeck me in jewels, you peasant” mode.

The Tilda Swinton Award for SWINTON

Everybody’s Favorite Alien, Tilda Swinton, was in fine SWINTON form last night, in this periwinkle blue Haider Ackermann ensemble. Is this separates? Or is it a gown? I can’t quite tell. SWINTON works a lot of menswear looks, and the jacket of this gown is in keeping with that style, while the skirt is flattering and on trend with its mini-fish tail. I also love that SWINTON did her hair up like this, instead of slicking it down like she usually does. I feel like this is what her crown looks like, when she’s sitting in her proper place as queen of a dying alien race. Tilda Swinton, the most SWINTON of the night.

The Lea Michele Hard Posing Award

Meanwhile, the Lea Michele Hard Posing Award goes to Piper Perabo, who wore a see-through Theory gown and was either completely shitfaced or else lost her shit and went crazy on the red carpet. There’s not much I can say here, so I’ll let the photos speak for themselves.

I totally forgot it was Golden Globes Day

Posted in Event, Movies with tags , , , on December 15, 2011 by Sarah

When T texted me this morning about the nomination rundown, I said (out loud) to myself, “Oh shit, I forgot about that.” Then I said (also out loud, because I talk to myself), “Can we stop acting like the Globes mean anything so I don’t have to care about this?”

Say what you will about the Oscars—and I do say plenty—at the end of the day, the Academy is trying to nominate and reward excellence in filmmaking. Like any large body politic, there are varying opinions on what qualifies as “excellence”, but the Academy often goes for little movies no one saw over blockbusters that draw ratings because they genuinely feel like ratings shouldn’t matter in the process (well, some of them feel that way). But the Hollywood Foreign Press Association, a shadowy organization with almost no transparency, has increasingly become a group driven by the desire to be the biggest party on the block, with the most glittering people in glittering dresses, quality and artistic merit be damned. Case in point: Madonna’s universally derided W.E. received multiple nominations.

There’s no use bemoaning the lack of this or that—the HFPA will always nominate whoever they think will show up on the night and drink and party with them. They’re notoriously easy to lobby and they really don’t care what we think of them or their nominations because they’re getting everything they want out of this transaction. That said, I give them credit that this year’s line up is considerably less insane than last year’s. That’s the benefit of a year in which there is no clear-cut favorite, and the closest thing to a masterpiece (Drive) is highly divisive—it makes for a more open, richer field of nominees. Now, onto the breakdown. You can see the complete list of nominees here.

Best Drama
The Descendants
The Help
Hugo
The Ides of March
Moneyball
War Horse

Why are there six nominees here and only five everywhere else? I call bullshit! All of these are future Oscar nominees, except for The Ides of March which only on here to get George Clooney to show up.

Best Comedy/Musical
50/50
The Artist
Bridesmaids
Midnight in Paris
My Week with Marilyn

50/50! Yay! A well deserved nomination. But why is My Week with Marilyn on here? When was that movie funny? Or is it a musical because Michelle Williams sang at the beginning and danced a little? Also, I love that we live in a world in which we can pretend that Bridesmaids is even half as good as 50/50, or even The Artist. I didn’t super love The Artist, but then, I’m a nostalgia-hating monster with no soul (more on this later).

Best Animated Film
Arthur Christmas
Cars 2
Rango
Puss in Boots
The Adventures of Tintin

Rango is my favorite cartoon of the year, and even though the HFPA and the Academy have nothing to do with one another, the Academy’s debate about where to categorize TinTin will be affected by its placement among animated films. And honestly, Spielberg better be crossing his fingers that neither TinTin nor War Horse win any major awards so that he can clean house with Lincoln in 2013.

Best Foreign Language Film
The Flowers of War
In the Land of Blood and Honey
The Kid With a Bike
A Separation
The Skin I Live In

Angelina Jolie’s In the Land of Blood and Honey irritates some people as it’s an American production, but the key word here is language. No one is ever happy with that category because either you have “language”, which means it only has to be in Not-English, or you say “best foreign film” which opens the door to English-language productions. People bitch either way. They should just call this category what they really want it to be: Best Artsy Fartsy Movie Not In English.

Best Actor in a Drama
George Clooney, The Descendants
Brad Pitt, Moneyball
Ryan Gosling, The Ides of March
Michael Fassbender, Shame
Leonardo DiCaprio, J. Edgar

Upside: The Fassbender! Downside: Leonardo DiCaprio. J. Edgar just wasn’t that good, nor was it his best work. Also, why is The Gos nominated for The Ides of March and not Drive? I thought that the HFPA would be all over Drive.

Best Actor in a Comedy or Musical
Jean Dujardin, The Artist
Brendan Gleeson, The Guard
Joseph Gordon-Levitt, 50/50
Ryan Gosling, Crazy, Stupid, Love.
Owen Wilson, Midnight in Paris

Again with The Gos nominated for a role that isn’t Driver. Also, he was not the lead in Crazy Stupid Love. I am very happy to see that Brendon Gleeson got singled out for his work on The Guard, though, as he turned in a rather brilliant performance and deserves some credit for that. This will be a crazy handsome red carpet with Clooney, Pitt, The Gos, The Fassbender, JGL and stone cold French Fox Jean Dujardin.

Best Supporting Actor in a Motion Picture
Kenneth Branagh, My Week With Marilyn
Albert Brooks, Drive
Jonah Hill, Moneyball
Christopher Plummer, Beginners
Viggo Mortensen, A Dangerous Method

A blow to Andy Serkis’ “take my ping pong ball suit seriously” campaign as he and Rise of the Planet of the Apes are snubbed. Kenneth Branagh was really fantastic as Laurence Olivier in Marilyn, and I’m glad that Jonah Hill got some notice for Moneyball, but why Albert Brooks? I just didn’t think he was the best part of Drive.

Best Actress in a Drama
Glenn Close, Albert Nobbs
Viola Davis, The Help
Rooney Mara, The Girl With the Dragon Tattoo
Meryl Streep, The Iron Lady
Tilda Swinton, We Need to Talk About Kevin

This is a great line up and it gives some life to Glenn Close’s Oscar hopes. And we get everybody’s newest hate-on, Rooney Mara, in the mix, too. You know she’s going to have to work really hard to stop herself from saying, “This is the realization of everything I deserve.”

Best Actress in a Musical or Comedy
Jodie Foster, Carnage
Charlize Theron, Young Adult
Kristen Wiig, Bridesmaids
Michelle Williams, My Week with Marilyn
Kate Winslet, Carnage

The Carnage love feels a little out of left field, doesn’t it? And I love that we live in a world in which we can pretend that Kristen Wiig could beat any of these other ladies in an acting competition. Although she does really deserve a writing nod for Bridesmaids and I’m a little surprised she didn’t get that.

Best Supporting Actress in a Motion Picture
Shailene Woodley, The Descendants
Octavia Spencer, The Help
Janet McTeer, Albert Nobbs
Berenice Bejo, The Artist
Jessica Chastain, The Help

Janet McTeer! Speaking of left field, but that’s a solid nomination. Everyone is talking about Melissa McCarthy’s snub in this category, but having seen all of these performances—they’re all better than she was. Yes, she was funny. Yes, she displayed some balls. No, Melissa McCarthy did not give the best supporting performance of the year.

Best Director
Woody Allen, Midnight in Paris
George Clooney, The Ides of March
Michel Hazanavicius, The Artist
Alexander Payne, The Descendants
Martin Scorsese, Hugo

As to be expected.

Best Screenplay for a Motion Picture
Woody Allen, Midnight in Paris
Michel Hazanavicius, The Artist
Alexander Payne, Nat Faxon, Jim Rash, Kaui Hart Hemmings, The Descendants
Steve Zallian, Aaron Sorkin, Stan Chervin, Michael Lewis, Moneyball
George Clooney, Grant Heslov, Beau Willimon, The Ides of March

As to be expected, though I continue to be surprised that the HFPA ignored Wiig and Annie Mumolo for Bridesmaids. I would definitely trade The Ides of March for a Bridesmaids nomination.

Best Original Score in a Motion Picture
Ludovic Bource, The Artist
Abel Korzeniowski, W.E.
Trent Reznor and Atticus Ross, The Girl With the Dragon Tattoo
Howard Shore, Hugo
John Williams, War Horse

W.E.? Are you shitting me? Why not just send Madonna a nice fruit basket and ask her to come?

Best Original Song in a Motion Picture
“Hello Hello,” Gnomeo & Juliet
“The Keeper,” Machine Gun Preacher
“Lay Your Head Down,” Albert Nobbs
“The Living Proof,” The Help
“Masterpiece,” W.E.

Machine Gun Preacher but not The Muppets? Yeah, okay. And again, W.E.? I’m telling you, a nice fruit basket would be just as effective.

I don’t understand television, or, Why the Emmys suck

Posted in Event, TV with tags , , , , , , on July 14, 2011 by Sarah

First, I have to congratulate my friend J who labored SO HARD on a cable project which ended up landing a small pile of nominations. Triumph! And my condolences to our other friend B, who’s toiled for years on a fine TV show which, once again, got no real nominations. Chin up, B.

I hate the Emmys. Why? Because I don’t understand them. Judging TV is very easy to me. You have, week in and week out, a chance to form/enhance/change your opinion on something. With a movie, it’s possible to get swept up in the immediate reaction. For instance, when something opens and has overwhelming buzz and you love it, then you re-watch it later and realize it wasn’t actually that good (Saving Private Ryan). Or when you hated a movie but a later viewing showed you just how genius it really is (Zoolander, Tropic Thunder). So much of my problem with the Oscars stems from that—everyone gets caught up in a couple movies for a year, often excluding better work for the popular picks of the day. But the Emmys have multiple chances to figure it out. They have 12-22 hours of opportunity a year. Yet somehow they almost always mess it up.

For the complete list of nominees, go here. We’re not reviewing each category because I really don’t care about Best Background Actor or Most Effective Use of Product Placement. No, we’re here to focus on the snubs because when it comes to the Emmys, the snubs are always more interesting than the actual nominees. Although, this year the Emmys did correct their gross oversight of Ed O’Neill (Modern Family), and Walton Goggins finally got an acting nod, though it’s for Justified and not The Shield. I guess I should say, to be fair, that this year I was happy to see some long-deserved recognition come down for Friday Night Lights (Kyle Chandler and Connie Britton both got nods). So I guess before we complain, we should be glad for who did get recognition.

Justified got three acting nominations, for lead actor Timothy Olyphant, supporting actor Goggins, and supporting actress Margo Martindale. Parks & Recreation picked up a Best Comedy Series nod and Amy Poehler got her second Lead Actress in a Comedy nod. The FNL nominations are long overdue and well deserved and they picked up an Outstanding Drama Series nod. Downton Abbey is all over the Miniseries/Movie categories, with a writing nod for Julian Fellowes, Lead Actress for Elizabeth McGovern (Countess Cora), and Supporting Actress for Maggie Smith (Dowager Countess Violet). The BBC’s Sherlock got some technical nominations but was shut out of the major categories. So the 2011 Emmys aren’t without deserved picks, but the bad still outweighs the good.

I think my biggest problem with the Emmy nominees are all the retreads. In all the major series categories, past nominees dominate the landscape. 30 Rock, Mad Men, The Office and Dexter are all multiple nominees again. Which isn’t to say that they’re bad shows, just that maybe, given how long TV shows can run, there should be some kind of nomination cap? I’m not sure how to do that and keep it fair, but with the Emmys, it feels like the same three shows get nominated every year. The new crop of dominators are also out in force—Glee and Modern Family chief among them. And then there are the utterly predictable nods for Boardwalk Empire and Game of Thrones clogging up the Drama Series categories.

Left to me, I’d nominate Steve Buscemi from Boardwalk Empire and the costume and art departments and call it a day. That show is boring and badly paced and terribly overrated. I’m fine with Game of Thrones’ laundry list of nominations because it’s actually an engaging show to watch with characters you care about. But Boardwalk Empire? I’d rather give myself a pedicure with rusty pliers than sit through more episodes of that. Ditto for the miniseries The Borgias which was such a snoozefest. Did anyone really even like that show? And while I think Berry Pepper’s acting nomination for The Kennedys is deserved, I think that because he was the ONLY good thing about that miniseries—Greg Kinnear should not be on the Outstanding Lead Actor in a Miniseries/Movie category. Give that spot to Sherlock’s Benedict Cumberbatch. Another nod that baffles me is The Cleveland Show for Outstanding Animated Series. Do people actually watch that? And like it? It’s terrible! Why not Archer? Archer is the best animated show on TV right now. Yes, even over South Park.

But where the Emmys get really egregious is in the complete oversight of HBO’s Treme. Last year at least they got some cursory nods for directing and music. This year, when the show has really hit its stride and come into its own? Nothing. Shut out. It’s actually embarrassing. It’s embarrassing that something as good as Treme is happening on television and the Emmys ignore it in favor of The Good Wife. And I know you’ll all yell at me for saying that, but while the acting is very fine in The Good Wife and it’s a satisfying adult soap, it is nothing compared to Treme. Nearly as obnoxious is the near-shut out of AMC’s The Walking Dead. Here’s an idea. Take every nomination for The Killing, which was so unsatisfying from start to finish that watching the whole first season was like eating glass, and give them to The Walking Dead.

My television buddies told me, long ago, that the six episode season for The Walking Dead was going to be problematic come Emmy time. It’s too short, not enough to judge. And it’s zombies, so there’s a genre prejudice in effect. My response? 1) The Walking Dead’s huge ratings—clearly people like zombies so the Emmys just need to get over themselves, and 2) The Walking Dead accomplished in six episodes what 98% of shows can’t accomplish in 12-22 episodes. It was engaging, engrossing, scary, tense, and well made from start to finish. Remember the six weeks The Walking Dead was on the air? It wasn’t just me in love with the show. EVERYONE was absorbed with it. My mom’s boss is obsessed with zombies now, thanks to that show.

Their comeback to this logic? THEY DON’T HAVE ONE. Because there isn’t one. The Walking Dead stretched what television can be and yet the Emmys barely toss it a bone with three technical nominations. And not even major tech categories like cinematography or art direction, but instead they placate with a minor makeup category. Other gross oversights include the shutout of NBC’s Community (easily better than Glee and The Big Bang Theory) and FX’s Sons of Anarchy. The Emmys are always cause for complaint. I don’t understand how, with so much to judge by, pretentious crap like Boardwalk Empire and The Borgias, or bore-fests like Mildred Pierce and The Killing can be so honored when the consistently best shows on TV get ignored. Oh well. At least with all those Empire nominations the odds are good we’ll get to see Paz de la Huerta be a total disaster at the show. That’s always worth watching.

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