And now time for some off-the-cuff Oscar Picks:
Original Screenplay: Inglorious Basterds
Adapted Screenplay: Up In The Air
Visual Effects: Avatar
Sound Mixing: Avatar
Sound Editing: The Hurt Locker
Short Film (Live): No clue on this one. Let's go The Door
Short Film (Animated): No clue on this either. Let's go The Lady and the Reaper
Original Song: Crazy Heart
Original Score: Up (though I'd love it to be Sherlock Holmes)
Makeup: The Young Victoria
Foreign Language Film: The White Ribbon
Film Editing: Avatar
Documentary Short: No clue. The Last Truck
Documentary Feature: Blah. The Cove
Directing: Kathryn Bigelow, The Hurt Locker. She's everybody's darling.
Costume Design: Coco Before Chanel
Cinematography: The Hurt Locker
Art Direction: Avatar
Animated Feature: Up
Supporting Actress: MoNique, Precious
Lead Actress: Helen Mirren, The Last Station. Curveball!
Supporting Actor: Christoph Waltz, Inglorious Basterds
Lead Actor: Jeff Bridges, Crazy Heart
Picture: Avatar
For what it's worth, this is how I would have had it go down, in an ideal world:
Original Screenplay: 500 Days of Summer
Adapted Screenplay: District 9
Director: Coen Bros, A Serious Man
Supporting Actress: Anna Kendrick, Up In The Air
Lead Actress: Paulina Gaitan, Sin Nombre
Supporting Actor: Edgar Flores, Sin Nombre
Lead Actor: Sharlto Copley, District 9
Picture: Sin Nombre
And continuing with the countdown:
100. In The Mood For Love (Wong Kar-Wai, 2000) - A really terrific Hong Kong film that put Wong Kar-Wai on the map internationally after being acclaimed domestically for years. It's tense and delicate, it plays out very much like a dance, a slow, seductive, emotional rhythm between the two leads (Tony Leung and Maggie Cheung) as they unravel their individual marriages and begin an affair with one another. The ending scene of the movie really blows my mind, as Chow (Leung) travels to Angkor Wat, Cambodia, to whisper secrets into the ancient temple wall.
99. Frost/Nixon (Ron Howard, 2008) - Highly acclaimed and a critical darling, Frost/Nixon gave viewers a story to the events that have long seemed to be just dirty facts. Michael Sheen might be the heartbeat of the movie as David Frost, carrying the film from scene to scene, but the story would be nothing without the heartfelt portrayal of Nixon by Frank Langella. I suppose it could be viewed as sympathetic to Nixon, but I believe that it shows him to be undeniably guilty, yet dynamically more human than he comes off in the history books. A very dedicated re-enactment.
98. Mystic River (Clint Eastwood, 2003) - I was never as big on this movie as some other people. I read the book--I devoured the book--and was quite excited to see the movie, but I really found Sean Penn's voice to be annoying, his performance to be a little underwhelming, and Tim Robbins's portrayal of Dave Boyle to be much darker and more menacing than it was in the book. Still, a good story is a good story, and I thought Marcia Gay Harden and Laura Linney were the backbones of the male protagonists throughout. The unfortunate thing for me is to consider what this movie could have been, considering the terrific source material it came from.
97. Cloverfield (Matt Reeves, 2008) - Love it or hate it. Cloverfield was certainly polarizing--the jerky camera movements, the imperfect CGI, the contrived concept of filming the entire time--but I can't help but enjoy it, and consider it to have succeeded fully on all of its intentions. JJ Abrams gets all the credit for conceptualizing the film, but almost nobody talks about the actors or the director, and I think the use of seemingly no-name talent is what really carried the film. Little-known actors are more believable as handicam subjects than Tom Hanks or Brad Pitt, and Matt Reeves's fresh creativity helped to make the movie really pop. I love Hud's narration throughout, I think he's quite funny and a good window through which to watch. And the grittiness of the cinematography help to cover up blatant set-pieces and shoddy CGI work. Maybe you hated it, maybe you threw up during it, but I think Cloverfield nailed exactly what it was going for.
96. The Incredibles (Brad Bird, 2004) - Superhero movies are all the rage. So much so that they all seem to be carbon copies of one another, from characters to storyline to explosive climax. The Incredibles, thankfully, took a different approach. As a family film, it's wonderful, I can see how kids would enjoy the colorful imagery and the clever slapstick. But as an adult, what I'm really happy with is the originality. Rarely do superheroes have personalities outside of their hero-egos, but the groundwork for this story is laid in the family's struggles in real life. The action and heroics are fun, for sure, but they only go as far as to fill in the popcorn-popping fodder. I think Brad Bird decided, "Either I can make a cookie-cutter movie that will do well in the box office and sell action figures, or I can make a really creative story that will have weight long after the superhero obsession disappears." Thankfully, he went with the latter.
95. Road to Perdition (Sam Mendes, 2002) - It seemed an almost impossible task for Sam Mendes to follow American Beauty. American Beauty was such a fantastic film through and through, firing on all cylinders, making him seem like such a genius, he either needed to kill his next movie or people were going to be disappointed. To his credit, I think it was a wise move to change genres a bit, to step outside the "one-trick-pony" circle, showcase some other skills. Road to Perdition might not have been as good as American Beauty, but it doesn't mean it was a slouch. Gangster movies have been done, but I like how this movie showcases the full spectrum of a man on his way out of the game, not just his evil-doer side. And the visuals, which borrow strongly from the graphic novel, seem to give the story a much deeper impact.
94. Insomnia (Christopher Nolan, 2002) - Christopher Nolan is a beast. And while I consider Insomnia to be one of his weaker movies, it's still a dynamic thriller that presents a healthy challenge to the viewer (though not as challenging as, say, Memento). Robin Williams is at his serious best here--still in his "I want to be dramatic and borderline creepy" stage but without the numb storylines of One Hour Photo or The Final Cut. And Al Pacino, who can be at times unbearable, is pretty good, in his usual Al Pacino role. Even though I believe the material he's working with is inferior to some of his other movies, he still turns out a terrifyingly sharp product.
93. Training Day (Antoine Fuqua, 2001) - Denzel Washington won the Oscar for this, in an "Oops, We Screwed Up" moment. It was more of a lifetime achievement award, and a late recognition of his powerful performance in The Hurricane. He's good as Alonzo, but not great, and even though he tries to command the entire screen for himself (as his character dictates) he is often outshined by Ethan Hawke, which is impressive for a guy playing a nervous newbie. Training Day has a number of memorable moments and quotes, which says a lot about it as a police thriller. Jake is a very sympathetic character and the plot is just suspenseful enough to keep you on edge throughout.
92. Elephant (Gus Van Sant, 2003) - Gus Van Sant's take on high school homicide, at a time when the topic was very close to the surface and very sensitive for some. As opposed to casting the latest teen heartthrobs and big name actors as parents, he used a group of nobodies--real kids, using their real names, who were rarely seen before or since--and made a movie that probably hits too close to home for some viewers. It's expertly sterile and dry on melodrama, with a soundscape that's creepy but not unintelligible (as in Last Days) and simple visuals that make the most of the canvas they're framing.
91. 3:10 to Yuma (James Mangold, 2007) - Originally, I had some questions about the ending, but the more I think about it, the more I really did enjoy this movie. Typically Christian Bale goes for the big ego character (John Connor, Patrick Bateman, Bruce Wayne) but it's nice to see a different side of him as the humble farmer who steps up to the law to bring down the big ego bad guy (Russell Crowe). One of the reasons I like this movie so much is because the whole time you think to yourself, "There's no way this guy should be able to pull this off," but the movie doesn't use exaggerated leaps in logic to move forward. Everything is believable, even though on the surface it shouldn't be. James Mangold deserves some props, as he is really a little-known director, but his name has popped up here a few times already.
90. Away We Go (Sam Mendes, 2009) - I really highly anticipated this movie, and after seeing it, wasn't disappointed. It was a little questionable, the promotional material shamelessly aping Juno and then throwing on the "Directed by Sam Mendes" sticker at the end, which is a little like finding a rustic old pair of moccasins at a thrift store, then looking inside and seeing the Nike swoosh. Maybe it swiped the aesthetic, but I let my preconceptions about directors and their genres go a little too far here--a good director should make a good movie. And I think Away We Go is a good movie. For further analysis, check out my review here.
89. LOTR: Return of the King (Peter Jackson, 2003) - The final installment of the franchise, the one that took home all the hardware, the one that everyone was itching for for months, but frankly, not the one that I liked the most. I think Return of the King was a satisfying conclusion to the trilogy, but let's be serious for a minute--you and I both know that it stretched on about 45 minutes too long, which is amazing since it was already the third part of a trilogy. Peter Jackson tried to stay true to the book, which he did, but I found it a little odd that it dominated the awards even though the first two had been largely absent. It was all the same movie, made the same way, how could this one be so much better?
88. Catch Me If You Can (Steven Spielberg, 2002) - One of my favorite DiCaprio movies. And one of my favorite Spielberg movies, made at a time when he was trying to avoid epic and pompous (remember The Terminal?). Catch Me If You Can was like a fun ride--Frank Abagnale was somehow able to do whatever the hell he wanted, and we, the audience, were the beneficiaries. It carefully toes the line between entertainment and believability.
87. 500 Days of Summer (Marc Webb, 2009) - The indie darling of the year, starring indie darlings Zoe Deschanel and Joseph Gordon-Levitt, was, trendiness aside, a really fantastic little movie. It was a clever script and featured punchy storytelling, flipping through the days in their lives as you might page through a magazine. Maybe the song and dance routine was a little much, but it was hard to not get swept along in the fun as Tom (Gordon-Levitt) meets and falls for the girl of his dreams, who falls a little less hard back.
86. KillBill Vol. 2 (Quentin Tarantino, 2004) - I don't like Quentin Tarantino. I'm not sure what it is about him, personally, that I just don't like, but I don't. That said, some of his movies are undoubtedly good. Pulp Fiction, Reservoir Dogs, Kill Bill Vol. 2. I just don't think they're as good as he thinks they are, I don't think he deserves as much credit as he gets for stealing ideas from other people. Regardless, he's a good diplomat. He takes Asian influence and incorporates it into films for Americans, most specifically here, in his "masterpiece" of sorts. The fight sequences are pretty flawless, and keep a movie going that has some otherwise overly philosophical and cryptic dialogue. In that sense, he's dropped off since, say, Reservoir Dogs, but Kill Bill is quite a heartstopper.
85. Rocket Science (Jeffrey Blitz, 2007) - I knew very little about this movie before I saw it, but once it started, I fell in love. Teaming a take on Alec Baldwin's narration from The Royal Tenenbaums with a highly sympathetic main character and an identifiable storyline, Rocket Science is one of those movies that just makes you feel good that movies are made. Pre-Up In The Air Anna Kendrick is perfect as the quick-tongued debate leader, and no-name Reece Thompson kills as Hal Hefner, the protagonist with a stutter. If you get the chance, see it.
84. Y Tu Mama Tambien (Alfonso Cuaron, 2001) - A Mexican road movie about gaining new friends, losing old friends, and coming into your own sexually and emotionally. It's a bit contrived, I suppose, and I could see an argument made that Ana as a character is only created for the purposes of the male characters' achievements. But it gets deep into the complexities of human relationships, especially those of male friends, where there is always an underlying level of competition. Cuaron has since taken off with bigger budgets and bigger stars, but this will remain as a very insightful story for many years.
83. The Aviator (Martin Scorsese, 2004) - Expectations weighed heavily on this film, just as they did on Howard Hughes himself. I'm not sure I'm in love with DiCaprio in his role here, but credit goes to him for undertaking such a demanding task. Blanchett was on point as Katharine Hepburn, and well deserved of her Oscar win, but ultimately I think this movie suffered the same downfall as Hughes's Spruce Goose--too big, too costly, too grandiose. Luckily enough, it helped convince Scorsese that 3-hour epics don't capture the audience's hearts the way he'd like to.
82. The Diving Bell and the Butterfly (Julian Schnabel, 2007) - How can a movie about something so tragic be so beautiful? Maybe, in fact, it wasn't even tragic. Through the beginning of the film, Jean-Dominique Bauby (portrayed by weasley Mathieu Almaric) wasn't exactly the world's greatest human. A cheating husband and egotistical businessman, his life is completely changed (to put it lightly) by a stroke and car accident at the age of 43, leaving him locked in, unable to move or speak, only able to blink his eyes. From that point, the movie is quite heartbreaking, as he deals with his unimaginable condition and manages to "dictate" a book thanks to the dedication of his nurse. Julian Schnabel deserves heaps of praise for his ability to capture Bauby's viewpoint in a way that makes his story relatable while also making the movie eminently watchable.
81. Little Children (Todd Field, 2006) - If you don't think Jackie Earle Haley hammered the crap out of this role, you might be insane. The former child star returned after a 13-year absence to play pedophile Ronnie in this movie, and it was the spine-tingling performance of a lifetime. He has parlayed it into a number of other huge roles, include Rorschach in Watchmen and the upcoming Freddy Krueger reboot, but this was his star maker. Kate Winslet and Patrick Wilson are solid as the leads in the story, playing typical suburban homemakers who harbor a deep distaste for their respective situations and proceed with an affair (why you would leave Jennifer Connelly for Kate Winslet is beyond me). A really dark, creepy kind of movie, despite never being overtly so. It's tough to explain. You just kind of need to see it.
80. Casino Royale (Martin Campbell, 2006) - Bond made a triumphant return in Casino Royale, strangely, since it was a reboot of the franchise back to the origin story, and pretty much everybody loved Daniel Craig assuming the role of 007. It was certainly a much more entertaining and clever story than the second Craig installment, Quantum of Solace, and ushered in a new era of grittier Bond movies, replacing the overblown antics of the Brosnan films with more intricate verisimilitude.
79. Jesus Camp (Heidi Ewing and Rachel Grady, 2006) - This movie was made specifically for someone like me, who views the world of passionate piety with a bit of skepticism, so if you find yourself to be more religious than I am, maybe you won't really love this movie--in fact, maybe you'll hate it. But I think it was wonderfully expository, opening up the steam engine of midwestern Christian ministry to the eyes and ears of the world. To be fair, the documentors are never cruel to their subjects (like Bill Maher in Religulous), but I don't think it presents the Kids on Fire School of Ministry in a light that would inspire anyone to send their children. Still, this is a movie, and as such, I was 100% hooked on it throughout, certainly one of the best documentaries to come out in the last ten years.
78. Unbreakable (M. Night Shyamalan, 2000) - Shyamalan's resume might get less and less satisfying as the years go on, but at least Unbreakable was back during a time when his name was explosive (in a positive way) and his work reflected that. During an age of superhero obsession (which I've mentioned before) it's increasingly more difficult to present something original, but I love the story of this movie, and its execution. From the beginning, with David Dunn sitting stunned on the gurney, to the end, when the handshake reveals everything, Unbreakable is a masterfully crafted mystery. And for someone who went to Penn and lives in West Philly, the shots of local landmarks is also fun to experience.
77. The Constant Gardener (Fernando Meirelles, 2005) - I think this movie was and still is quite under the radar, a very well made film that features Ralph Fiennes in a really strong performance. I think maybe the title has thrown people off, it's a poor title for a movie, but it's a well-pieced mystery and exhibits some of the same visual flair that made Meirelles a star after City of God. But it wasn't spectacular in any way, just a flat out good movie with a good story and solid acting. At the end of the day, it makes you feel sorry for Fiennes's character, who has unjustly lost his wife, and for the residents of Africa, whose future largely relies on aid from whites who can't help but take advantage of them.
76. Zodiac (David Fincher, 2007) - Similar to the whole Volcano/Dante's Peak and Armageddon/Deep Impact scenario, within a year, there were two movies released about the famed Zodiac killings in San Francisco in the 1970s: first The Zodiac, by Alexander Bulkly (who for some reason spells his last name differently than his brother Kelley Bulkely), which was a small movie and garnered little recognition, and second Zodiac, directed by David Fincher (who some might remember from tiny arthouse flicks Seven and Fight Club) and starring Jake Gyllenhaal. Fincher is one of my favorite directors, and Zodiac did not disappoint. It might be a little long, and certainly infuriating (over and over they bypass the killer), but even a movie that seems to be a cut and dry detective story does well to illuminate Fincher's artistic eye. The movie is really a testament to the craft of supporting actor, as Robert Downey, Brian Cox, John Carroll Lynch, and Mark Ruffalo carry the day.
I promise I will try to make the next installment happen a little faster than this one. Even though that might not seem like a hard task to accomplish.
No comments:
Post a Comment