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Actually, I Need to Wake Up Too

26 Feb

I guess it was an enjoyable Oscars show. I’ll probably always enjoy it. Perhaps that’s the ultimate in denial, because this year’s show was really safe, slick, slow-moving, and not too exciting or surprising overall. And for a change, it felt long. That said, it had its moments:

I was shocked that Alan Arkin actually won Best Supporting Actor (though let it be said that I predicted that). Somewhere Jeffrey Wells is gloating, and elsewhere, Dreamworks/Paramount is regretting releasing Norbit before the Oscars … Celine Dion still sucks. I wish she’d stayed in Vegas, where we didn’t have to hear from her … J.Hud won and gave a nice, genuinely emotional speech — and gave me the chance to say for the last time (I promise) that I interviewed her months ago (I even scooped Barbara Walters) … I liked the opening Nominees film, by Errol Morris … I thought Ellen’s monologue was good, but I think she was probably a little too quirky for the Oscars … Good for An Inconvenient Truth, but I thought there was a little too much Al Gore, even if I do like him … A definite highlight was Apple’s commercial for the iPhone … Why was Jack Nicholson bald? … Does anyone else remember when Chris Connelly was cool? … The Dreamgirls musical number was good — if you don’t include “Patience” — but Eddie Murphy was missed … Jennifer Lopez: whoa! … So WTF were those shadow dancers?? … I still wish Judi Dench had won Best Actress … You know, say what you will, but I do sorta feel bad for Eddie Murphy. Were it not for Norbit, that award would have been his, and he seemed, in the end, to really want it (too little, too late, I guess) … Did Ellen really vaccuum?? That was ridiculous … Best acceptance speech: Forest Whitaker’s. Second best: the guy who won for West Bank Story, the Best Live Action Short Film … I’m happy Helen Mirren doesn’t have to feign surprise anymore … And while I thought Little Miss Sunshine would win Best Picture, I’m happy The Departed actually did. After all, it was my favorite movie of last year … Oh, and I can’t believe the three Dreamgirls songs actually cancelled themselves out and Melissa Etheridge won Best Song; that may be a bigger surprise/upset than Alan Arkin’s win because I thought “Listen” was a sure thing. (A complete list of winners is here.)

I guess that’s it. It’s past Abigail Breslin’s bed time. On to next year!

A Not-so-Wonderful Night for Oscar?

24 Feb

For all the unpredictability that accompanies this year’s Best Picture nominees, the rest of the major categories look to go according to plan. As a result, there’s not so much interesting about an Oscar predictions post this year. I’ll say I hope The Departed wins Best Picture, but I expect Little Miss Sunshine to actually win — which is fine, because Sunshine is a great movie. Otherwise, Scorsese, Hudson, Whitaker and Mirren will all win (though I’d rather Judi Dench take Best Actress). And The Departed and Sunshine will win the screenplay categories. Perhaps the only surprise might come in Best Supporting Actor, where Jeffrey Wells has convinced me that Alan Arkin might actually win, not Eddie Murphy. So I hope Ellen DeGeneres does a great hosting job, because the show is not shaping up to be a suspenseful one. (And by the way, if you need a ballot to keep track of the winners, here’s one.)

Either way, the show has to be better than the one in 1989, when Snow White and, yes, Rob Lowe opened the show by singing, among other things, “Proud Mary.” If you’ve never seen it, here’s your chance. The year after this debacle, Billy Crystal hosted and all was right with the world. But this is a great reminder of how bad the Oscars can be. So at 12:30, when the show is still going on, remember: it could always be worse. (And thanks to David Poland for the tip.)

G-Men, B-plus-Movie

18 Feb

God bless Billy Ray. The director coaxed a good performance out of Hayden Christensen in Shattered Glass in 2003, and now he’s done the same with Ryan Phillippe in Breach, a film that tells the story of the efforts in 2001 to catch FBI agent Robert Hanssen, who was suspected of spying for the Soviet Union and Russia. The end result of this film is known up-front — not only is this a true story, but the movie begins with a clip from John Ashcroft’s press conference announcing his capture — so it’s more about the way he was captured. Hanssen, who is played brilliantly by Chris Cooper, was a devout, seemingly by-the-book FBI agent, who doesn’t suffer fools. I love that the Boston Herald called this movie The Devil Wears Brooks Brothers because at first it’s like that. But as Hanssen’s clerk, Eric O’Neill (Phillippe), starts to peel away the layers and becomes an instrumental part of the FBI’s attempts to catch Hanssen, the movie becomes more cat and mouse and less, um, catty. Because we know how the story ends up, there aren’t too many surprising twists like you’d find in a conventional spy thriller, and Ray does his best to ratchet up the suspense a few times, but mostly Breach plays like a solid inside-D.C. drama that eschews such conventions. As mentioned, both Cooper and Phillippe are good, but Laura Linney, as O’Neill’s real boss, just doesn’t carry her weight. For some reason, she can’t bark orders like the rest of them and it’s almost laughable. They say good movies don’t get released in mid-February, and while I didn’t enjoy Breach as much as Shattered Glass, I still say it’s still worth seeing. I’m giving it a B+.

Good, In Any Language

11 Feb

As I’ve previously said, when I see movies after the Oscar nominations have been announced, I’m skeptical that the movie is that good.

So I’m happy to say that yes, Babel is a very good movie.

Is it one of the year’s best? Sure, I’d say it’s worthy of the nomination. But I’m not going to adjust my top 10 to include it. I wonder if I’d have liked it as much if I saw the movie when it was first released in October. Continue reading →

Poor Little Rich Girl

8 Feb

Andy Warhol is famous for, among other things, saying, “In the future, everyone will be famous for fifteen minutes.” And in the new movie Factory Girl, we see how Andy took one woman — Edie Sedgwick — gave her those 15 minutes, and then threw her away. Sedgwick (played in the film by Sienna Miller, Jude Law’s former squeeze) was an aspiring artist from a wealthy family, who became Warhol’s muse and a central figure in his “Factory” in the 1960s. She was transformed by Warhol — and not just physically — and the film takes us on the whirlwind ride from bottom to top and back down again. And it feels like a whirlwind because the film is only an hour and a half long — which, mind you, is not something I’m complaining about, but it definitely feels a little too short because there clearly has been a bit of editing here, and it feels like certain details are missing. Miller is good, but I didn’t get the bigger-than-life sense about Sedgwick or Warhol (played by Guy Pearce, from Memento). I mean, she was swept up into this world, and really, it didn’t seem all that cool or exciting to me. It’s interesting to think of how different the movie would have been had Katie Holmes been cast as Sedgwick (not better, I think). All told, I’m giving Factory Girl a B–.

Mama Said There’d Be Movies Like This

30 Jan

There are movies you see because you want to, movies you see because you have to, and movies you see because, well, because they’re free. I’ll let you guess which one of those Because I Said So was for me. No need to give this a full review; if you’re a woman, you’ll probably love it. If you’re a woman and you see it with your mother, you’ll love it even more. If you’re a guy and you’re dragged to this movie, God help you. It’s shocking to learn that Because was directed by Michael Lehmann, who also directed Heathers, because this movie is so tame compared to that wickedly funny ’80s classic. Because is cliched, but it’s not awful, and you could do worse than watch Mandy Moore on a big screen for an hour and 45 minutes. Still, it’s puzzling what attracted someone like Diane Keaton to this movie, since she’s basically reduced to some bad physical comedy; at multiple times she either has a cake smashed in her face or she’s doing things like reacting to Internet porn in the most naive way (I said multiple times). When she gets the chance to actually act, it’s totally laughable. Certain movies just aren’t made for men, and this is one of them. I’m giving it a C.

Secrets Can Be Seductive

27 Jan

Ladies and gentlemen, I’ve gone and updated my top 10 list for last year because Notes on a Scandal surely deserves a place there.

And I’ll go one step further and say that Judi Dench deserves the Oscar for her performance here more than Helen Mirren does for her work in The Queen.

Dench is as scary an on-screen villain as there’s been in the movies this year, and her performance is mesmerizing. It’s hard to imagine that she went home every night and was a normal person. In the movie, she’s a force to be reckoned with. Continue reading →

Bring It On

23 Jan

Whoa. That’s my biggest reaction to the Oscar nominations this morning. More specifically:

* No Dreamgirls for Best Picture? That’s a huge shock, because everyone thought it was a lock to win. This opens the field up completely, and now I’d say it’s a 4-way race (The Queen doesn’t really have a shot). But what’s odd is that Dreamgirls still has the most noms of any movie (eight) — including three in the Best Song category. That’s the coolest of all, because it means Beyonce, Jennifer Hudson and Eddie Murphy may all sing. That would make for some fantastic television.

* Leo nominated for Blood Diamond and not The Departed. It’s because he thought he’d get a Best Supporting Actor nom for The Departed, and Warner Brothers campaigned thusly. Now he’s shot himself in the foot because he’s much better in Departed and doesn’t really have a shot to win for Blood Diamond. Then again, Forest Whitaker’s a lock to win anyway, so this is all moot.

* Ryan Gosling nominated for Best Actor. This is great. He is so good in Half Nelson. But I’m bummed that Sacha Baron Cohen didn’t get a nom for Borat. My view is that Will Smith took his spot; had Pursuit of Happyness come out any earlier in the year, the spot would have been Cohen’s.

* Whitaker vs O’Toole. If Peter O’Toole wins, it’ll be because of sentiment. He’s old; he plays an old guy. It’s sort of like Abigail Breslin. She’s good and all, but she’s playing a cute kid. How hard can that be? (Says the guy who couldn’t act, so he started writing reviews.) Not that I’ve seen Forest Whitaker’s movie (or O’Toole’s, for that matter), but that seems like a much more challenging role for him.

* Paul Greengrass nominated for Best Director. Even though United 93 didn’t make the Best Picture cut, I’m glad the movie was recognized here.

* Jennifer Hudson nominated for Best Supporting Actress. Hey, have I ever mentioned that I interviewed her for Continental? (Just kidding.)

* Mark Wahlberg nominated for Best Supporting Actor. Really? That one I don’t get. But more importantly, so who has the better back story this year: Jennifer Hudson, former contestant on American Idol, or Mark Wahlberg, formerly Marky Mark, former Calvin Klein underwear model?

* My predictions: Departed for Best Pic; Scorsese for Best Director; Mirren, Whitaker, Hudson, and Murphy in the acting categories; Departed for Adapted Screenplay and Little Miss Sunshine for Original Screenplay; “Listen” for Best Song; and Happy Feet for Animated Film.

Those are my quick reactions. Overall, I’m pretty happy with the nominations. I like that, aside from the four acting categories and Best Director, things are pretty wide open. And now I definitely need to see Babel (I still have no interest in seeing Letters from Iwo Jima). With Ellen Degeneres hosting, this could be a great show. I can’t wait.

Not Such a Great Catch

23 Jan

The trailer for Jennifer Garner’s latest film, Catch and Release, doesn’t exactly promise a very good movie.

So the good news is that the trailer gets it partly wrong.

For example, Catch is not a fun, cutesy romantic comedy about a woman getting over the death of her fiancee by falling in love with his best friend. Instead, it’s a rather serious film about a woman whose fiancee dies just days before the wedding, and who, in dealing with her grief, learns surprising things about him and herself.

Alright, fine, she does also fall in love with his best friend, but she does it reluctantly.

And even better, that’s not really the crux of the movie.

So I guess the film’s surprising depth is what redeems it from being a typical January throw-away.

Still, let’s not go too far with praise here. While the romance doesn’t feel totally forced, it does feel unrealistic. And Kevin Smith, playing a role probably meant for Jack Black, should probably stick to films he writes and directs, where he usually plays a character named Silent Bob.

Overall, the screenplay (by Susannah Grant, who also wrote Erin Brockovich and In Her Shoes, and who makes her directorial debut here) could have used some pruning; the generally likable cast helps a great deal to overcome its limitations.

Still, I just didn’t get into the story enough and found certain plot details predictable or unnecessary.

And Jennifer Garner just isn’t given enough opportunities to smile. When she does, it basically makes the movie worth watching — as does the scene where she’s wearing her wedding dress.

Catch earns points for being better than expected, but loses some for just not being compelling enough. So, I’m giving it a B–.

Not-So-Little Children

21 Jan

Children of Men presents a really unsettling picture of the world, circa 2027: all women have been infertile for 18 years, there is widespread poverty, no clear leadership, and bands of rebels use militaristic efforts to forward their goals. It’s not a pretty picture. So when a miracle pregnancy is discovered, extreme measures are needed to keep the secret and not interfere with the birth. Enter Clive Owen’s character, Theo Faron, who is grappling with his own inner demons (his child died years earlier), and who is charged with protecting the mother. That’s about all I understood about the movie. There’s a bit more to it, and much of that went over my head. I was unclear about what the Fish were doing, why Julianne Moore was only on for about 15 minutes, what Michael Caine had to do with any of it, and how this movie, which is actually quite good despite my not following it entirely, could resort to things like a character (the mother) whose name is Kee and a ship named Tomorrow. They’re not exactly subtle symbols. But anyway, I didn’t want to see Children of Men when it first came out, but the good reviews changed my mind. And now that I’ve seen it, I can’t say I entirely agree, but I do still think this is a very good movie — largely because I was impressed by the vision of writer/director Alfonso Cuaron, and because I thought Clive Owen made an engaging hero. So I’m giving Children of Men a B+.

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