- Despite possessing a sense of objectivity, the first half hour is particularly powerful, albeit quite uncomfortable.
- Ben Foster and Woody Harrelson are both excellent, and Harrelson firmly deserved that Oscar nomination.
- Surprisingly, the highlight of the film is the segment involving Steve Buscemi as an angry, grieving father.
- Unfortunately, with a story built initially on episodes, Oren Moverman's script meanders a bit in the latter portions when it starts to deviate from the formula, and at about the 1 hr 20 min mark, it starts to drag.
I was in the mood for violence yesterday, and boy did I get it, albeit from two films at opposite ends of the quality spectrum. One was an acclaimed Cannes Grand Prix winner from last May, and the other a star vehicle for Gerard Butler made by the directors of Crank. Care to take a guess at which one I preferred?
Jacques Audiard's A Prophet has held my interest ever since the acclaim from Cannes, through the chilling trailer, and up to Nathaniel R giving the film an A- on The Film Experience. I've had a little trouble with films flying the "acclaimed French product" flag recently (Reprise, Summer Hours), so I had my reservations despite my general excitement. Thankfully, Audiard's film (and France's Foreign Language Film Submission for 09) exceeded my expectations, and even surprised me in a few places. One of my complaints with films like Summer Hours is that in the film's attempts to have some degree of distance/objectivity in regards to characters, that the plot quickly grows tiresome and feels empty, despite plentiful potential for compelling film making. Though this same trait is somewhat present in Audiard's film, there is still a compelling story and intriguing characters that keep the film from falling into "blah" territory, and maintain a level of interest. In a nutshell, this is the story of Malik, a 19 year old, illiterate, French Muslim who rises through the ranks of the mafia during his six years in prison. Despite its length (2.5 hrs) and slightly episodic nature in the middle portion, Audiard's film is compelling written and edited. Malik: What's wrong, Cesar?
Cesar: I just saw 'Gamer'...
Much like The Hurt Locker, the various "episodes" that make up the bulk of the film are woven together with such fluidity that they feel smooth, despite the presence of titles in big, white text. However, the more connected scenes are the strongest, and I can easily say that, also like The Hurt Locker, the best scenes, most engaging scenes are at the beginning and end. Aiding the film in the background is the compelling, at times surprisingly delicate score, even though the sound mix occasionally has it blaring a bit too loud. Still, it's just more proof that 2009 is one of the strongest years for scores of the past decade. In the foreground are the performances, and they're quite strong, though I'm not sure any of them would crack my top 5 (certainly top 10, however). As Malik, Tahir Rahim makes for a compelling protagonist, despite some of what he does. Rahim's wiry build and face communicate neither overt menace nor a wilting flower personality; he's someone who takes time to adjust to what he's getting into. Two key supporting performances are quite impressive as well. Niels Arestrup makes a convincing, though never cartoonish, mob boss who takes Malik under his wing (although he never hesitates to hit the young man to keep him in line). But my favorite of the cast has to be Adel Bencherif as Ryad, Malik's closest friend. Despite Ryad's personal troubles, the script never milks the situation for schmaltz, making the character empathetic without whoring him out for sympathy and tears. Bencherif makes you feel for the character without histrionics; his persona is tough, but still very gentle and likable. If I have any gripes, it's that there are one or two prison characters who feeling somewhat unnecessary, and one line of dialogue that's well...heavy handed (trust me, you'll know it when it's uttered). That said, Audiard's film is so gritty and engaging, and filled with such striking moments (two dream sequences and a handful of symbolic hallucinations are particularly haunting) that it's hard to gripe too much. Not only is this a great film, but one of the best of 2009, and maybe even my new pick for Foreign Language Film.
Unfortunately, Gamer is exactly the opposite. Despite its short runtime (1 hr 25 min), by the time it's over, I was more than ready for it to be over. Though it has two impressively staged/shot/edited action scenes, they're both squeezed into the first 25 minutes. After that, it's a long, stupid, sleazy hour until you're free. Set in a slightly futuristic world, gaming master Nick Castle (Dexter's amazing Michael C. Hall) has developed two hit video games. One is called Society, and the other is Slayer. Both games involve real people plugging into the minds of other real people, and controlling them. The main focus of Slayer is that gamers control actual convicts, who, if they survive 30 games, are given a full pardon, all while spectators look on like it's an NCAA game (hehe, see what I did?). However, like the film's attempt at social commentary is like everything else: weak. Gerard Butler, who's slowly encroaching on Jason Statham's B-Movie-Action throne, doesn't get much to do other than look sullen and yell (he barely talks in the first 30 minutes). I kept waiting for him to pull a Harrison Ford and gruffly tell someone that he wants his family back, since this is basically the plot. While this is going on, we get glimpses of a resistance trying to bring down Castle's game (led by Ludacris, and backed up by Allison Lohman, who rushes through her lines so fast you can just feel her trying to get off of the set). Then there's Butler's wife, who's stuck making money by being an avatar for Society, where we get the film's sleaziest moments. And I mean sleazy. The first shots of Society are tacky, but at least they're brief. As the film goes on, we're treated to more, and it just gets worse (there has to be a better way to justify a boob shot...right?). And then we have Kyra Sedgwick, who should have been able to know better, but probably had to get a paycheck after that whole Bernie Madoff fiasco (seriously, what on earth was her character doing???). You gonna try and stab an Emmy Winner, boy?
OH, and THEN, there's John Leguizamo in an absolutely nothing role as well...some guy who likes to give twitchy monologues to Butler, and then dies and we're supposed to be all "oh no that guy died!" I'm sorry that I'm getting so fragmented, but...GAH, there's just so much that's either dumb, lame, or exceedingly trashy it's hard to keep focused. At least Michael C. Hall tries to have fun and camp up his role, complete with overwrought southern drawl and a scene where he lip-syncs and dances while sending drones to punch Butler. Not making that up. That's it, I'm done with this. To the makers/writers of this film, all I can say is this:
I'm really ready to get this out of the way, but there are a few things I want to say first, just to clarify. First, I think 2009 is actually one of the stronger years of the past decade. The more I think about the films, the more glad I am that this is the year the Academy expanded its line up to 10 (one of the few categories where I'll totally follow their rules). Second, due to time constraints and a busier than expected week last week, I was only able to put some of the categories in video format. Even though some were made into videos, they kept uploading to youtube only as a black screen with audio, which sucks, because the long format Best Picture presentation I made turned out really well, and I really wanted to make videos for the acting categories. Oh well, better luck next year. Third, I didn't get to see A Prophet, meaning I only saw 2 foreign language films (that I thought were worthy) from 09, meaning that the category isn't complete, hence the asterisk by the winner's title. Last, I made one error in the videos, and it's this: The Hurt Locker was supposed to be in the cinematography lineup instead of Broken Embraces, although those two films were fighting it out for the fifth slot, so it's not too big of a deal.
*If you need a refresher of my nominees, click HERE **I am fully aware that the Song/Score video is screwed up in the second half.
The 3rd Annual Texan Awards 2009 Best Tagline"Once upon a time in Nazi-Occupied France..." - Inglourious Basterds
Best PosterBroken Embraces
Best Trailer
Most Unfairly OverlookedMoon
Breakthrough Actor - MaleSharlto Copely - District 9
Breakthrough Actor - FemaleCarey Mulligan - An Education
Breakthrough Writer or DirectorTom Ford - A Single Man
Best Acting DuoGabourey Sidibe and Mo'Nique - Precious
Performer of the YearMarion Cotillard - Nine and Public Enemies
Best Sound MixingAvatar
Best Sound EditingThe Hurt Locker
Best Visual Effects and Best Make Up
Best Original Song and Original Score
Best Animated FilmUP
Best Foreign Language Film A Prophet (France)
Best Costume Design, Art Direction, and Cinematography
Best EditingThe Hurt Locker
Best Ensemble CastIn the Loop: Mimi Kennedy, Tom Hollander, James Gandolfini, [not pictured]: Peter Capaldi, Gina McKee, Anna Chlumsky, David Rasche, Chris Addison, Enzo Cilenti, Zach Woods, Paul Higgins, and Steve Coogan
Best Adapted ScreenplayIn the Loop - Jesse Armstrong, Simon Blackwell, Tony Roche, & Armando Iannucci
Best Original ScreenplayA Serious Man - Joel and Ethan Coen
- Alec Baldwin and Steve Martin as hosts. Though they seemed to vanish as the show went on (like Hugh Jackman last year), there were so many killer lines that it's easy to forgive:
"There's that DAMN Helen Mirren!" "Um, Steve, that's dame Helen Mirren..."
"Meryl Streep has the most nominations of all time, or as I say it: the most losses."
"Invictus combines two things I love: rugby, and tensions between blacks and whites."
"We'd like to introduce these two lovely young actresses, because frankly, we're tired of seeing all of these old ugly actresses."
"He directed A Single Man, and she weighs a single pound, please welcome Tom Ford and Sarah Jessica Parker!"
"The show has gone on so long that Avatar now takes place in the past."
- Best Acceptance speech: Sandra Bullock. It almost made up for the fact that she shouldn't have won Best Actress. She was both funny and touching, and even after getting emotional, managed to close her speech with a funny one-liner about "my lover Meryl Streep."
- I know some will probably bash it, but the presentation of the Original Score nominees via a dance troup was absolutely stellar, especially the Up segment. This was such a good year for scores, and this presentation briefly made me forget that many of the best ones were overlooked.
- THEY BROUGHT BACK CLIPS OF THE ACTING NOMINEES!! FINALLY!!!!
- Christoph Waltz's first lines at the podium: "Oscar and Penelope? That's an uber-BINGO!"Uber-Bingo indeed, Mr. Waltz
- The 45 second speech time limit actually results in (for the most part) better speeches, especially from Michael Giacchino (original score winner for Up).
- Morgan Freeman's voiceover explaining why Sound Mixing and Sound Editing are actually important. It's about damn time.
- Tyler Perry is actually funny, and introduces one of the best moments of the show: Martin and Baldwin sitting on a couch sharing a snuggie.
- Best Presenter(s): Tina Fey and Robert Downey Jr. for Original Screenplay, who had a hilarious back-and-forth about what screenwriters and actors want in an actor and screenplay respectively. Best Line goes to Downey Jr: "...writers, who are sickly little mole people."
Runner Up: Ben Stiller, dressed up as a Na'Vi
Best Win: Kathryn Bigelow (deservedly) makes history as the first woman to win Best Director.
- Cameron Diaz actually looks good at the Oscars for the first time in years.
- Mo'Nique stays calm, controlled, and confident during her speech.
- Michelle Pfeiffer still looks better than most of the young starlets in the room. Not surprising, actually...
Best Dressed: Penelope Cruz
- No one in their right mind is crazy enough to try and play off Jeff Bridges, even as his speech goes WAY past 45 seconds.After 5 nominations, the Dude can finally abide.
- Best "F*ck You!" to the media: after weeks of articles trying to stir up controversy about a rivalry between exes James Cameron and Kathryn Bigelow (whose divorce was reportedly quite amicable), Cameron smiles, applauds, and gets teary eyed as Bigelow makes her way to the podium.
The Bad
- See you again next year, Meryl.
- Holy crap, George Clooney actually looks...old.
- The Young Victoria wins Best Costume Design. And yet another Regency Costume Drama takes home the award...YAWN
- Precious wins Adapted Screenplay over the likes of In the Loop (which should have been nominated for tons more), and front runner Up in the Air. I imagine that Jason Reitman is seething right now.
- Kristen Stewart, absolutely devoid of charisma, co-presents the Horror Tribute Montage, which for no reason includes clips from both Twilight (to be fair, it is horrible) and even more ridiculous, Edward Scissorhands. How is Edward Scissorhands HORROR!?
- "Ladies and Gentlemen, we're experiencing some technical difficulties": random hissing noises, a "sshshsshshshsh" sound during the art direction acceptance speech, and the failure of the screen to play clips/stills from the cinematography nominees. A cut to the audience showed that clearly, Kathy Bates was displeased. Who is to blame?"Was it YOU, the woman from 'The Crying Game'!?"
- Factual Errors: At least two notable ones
The announcer introduces Robert Downey Jr. as an Oscar Winner, when he's only ever been a nominee. Ouch.
Charlize Theron presents Precious and says that it is up for 4 Oscars. The film was nominated for 6.
- The Reverse-Kanye Moment: As the director of short documentary "Music by Prudence" gives his speech, the film's producer barges in and interrupts and takes over the speech."Imma let you finish...or not"
- The lighting on the stage. This is Hollywood's biggest celebration, and yet the dominant color on stage was midnight blue. Why!? This is supposed to be bright and happy, not dark and mournful!
- Why was the presentation format for the supporting actors different from the lead actors? Sure, it would have taken more time, but supporting roles are in no way "inferior" to the leading ones. Show some respect Academy. It was bad enough when supporting actors actually received smaller/different trophies all those years ago.
- The height differences: Miley Cyrus (STAND UP STRAIGHT!) ...towering over Amanda Seyfried, and T-Bone Burrett towering over Ryan Bingham.
- No Original Song performances, and consequently, no Marion Cotillard or Ryan Bingham singing. Lame.
- Quentin Tarantino co-presents Foreign Language Film looking like he crawled out of a dumpster. Was he that distraught over losing Original Screenplay?
- Sam Worthington, stop chewing your gum ON STAGE.
The Ugly
- Cameron Diaz and Steve Carrell bomb as presenters.
Worst-dressed presenting duo: Carey Mulligan and Zoe Saldana. Mulligan's earrings are trying to take over her head, and Saldana's dress looks like a series of small explosions.
- Most in need of grooming: Keanu Reeves
Absolute Worst Dressed: Barbra Streisand. What on earth happened there?
