-Not many directors have made their mark on American cinema quite like Woody Allen. His flair for finding hilarity in ordinary life along with also pointing out the intricacies of human behavior have truly become his trademark. Likewise his eternal love affair with New York City along with his unrivaled stamina (he's written and directed one film virtually each year since making his debut as a filmmaker in the late 60s) have made him a cinematic landmark. Actors aspire to work with him, critics look forward to his movies and regardless of whatever advances films have made since he first appeared on the scene, Allen continues to stick to his traditional mode of filmmaking which has, and always will set him apart from any other director around. In celebration of an unprecedented legacy, here are 5 Woody Allen outings that may not have gone down as some of the master's greatest, but are some of my favorites and regadless of the type of "Allen" quality they give off, are still some of the most noteworthy films around.
1. Interiors (1978)
-One of Allen's most serious offerings from the 1970s, Interiors was not warmly received upon initial release but has since acquired a collection of admirers. The film's look very carefully measured with a variety of muted colors with only a handful of brightness sparsely scattered throughout the entire movie is exemplary. Moreover though, the film's main theme of how the divore of a long-time married couple affects their grown children was one that had, up to that point anyways, yet to be explored. Allen's treatment of the subject and the way he shapes the adult children characters help to make Interiors one of the most compelling examples of family drama in film history.
http://www.youtube.com/watch?v=lhphrzgPpaE
2. Bullets Over Broadway (1994)
-Allen's tribute to gangster pictures of the 30s as well as the great white way are both explored with great care in this fast-paced romp. A failed playwright is determined to bring his latest production to the stage himself but finds that his goal will be impossible to achieve unless he negotiates a deal with the mob. Full of lush cinematography, cracker-jack dialogue and great performances form the cast (especially Palminteri, Tilly and Weist who each received Oscar nominations for their work, with the latter winning), Bullets Over Broadway brought with it a resurgence for the director as well as an Oscar nomination for Best Original Screenplay.
http://www.youtube.com/watch?v=6BDr_9S5ZwU
3. Melinda and Melinda (2004)
-In full experimental mode, Allen got together one of his most diverse casts for one of his most daring latter day entries. The film tells the story of a fictional character named Melindaa hapless singleton who is presented through two separate stories (one comedic, the other dramatic). Its not an easy premise to take on as a viewer, but if your patience holds on throughout, the result as well as the overall experience is truly rewarding. Full of Allen's trademark dialogue and sensibility, Melinda and Melinda is truly one of the more curious footnotes in the director's illustrious career.
http://www.youtube.com/watch?v=t6IPioPX760
4. Scoop (2006)
-One of Allen's most celebrated, yet strangely still criminally underrated facets as a director has to do with his talents toward the area of magical realism. Nowhere is this more prevalent than in the comedy/mystery Scoop. A young American journalism student spending the summer in London encounters the ghost of a recently-dead reporter who informs her that a prominent citizen may be a notorious serial killer. From start to finish Scoop is brimming with laughs, mystery, and elements of farce and suspense. Featuring Allen himself in a hilarious role, Scoop is one of his hidden gems.
http://www.youtube.com/watch?v=X31pBRzhqaw
5. Cassandra's Dream (2007)
-Family is family. Blood is blood. So states the tagline for this harshly-treated suspense drama from Allen. Two London brothers who are both struggling to rise above their current social status' beg their wealthy uncle to loan them large sums of money to clear their debts. In exchange for the loan, they must murder one of their uncle's associates. Unlike so many suspense yarns, Cassandra's Dream is very grounded in reality and boasts an assortment of interesting characters including the brothers' girlfriends, both of whom add intrigue to the film. In the end, Cassandra's dream represents family loyalty and the parameters that exist within.
http://www.youtube.com/watch?v=9iEQdTFb2Rw
Thursday, 22 April 2010
Tuesday, 20 April 2010
Movie Flop of the Week- Nothing But Trouble (1991)
-In the late 80s, the trio of Dan Aykroyd, Chevy Chase and John Candy were at the height of their fame before passing the torch of comedic movie star over to the likes of Rob Schnieder, Adam Sandler and Kevin James. These actors starred in an array of screen comedies that all played on thier various comedic strengths which they had earlier showcased on SNL. It seemed for a while that these surefire funny men could do no wrong creatively. That is untl Nothin but Trouble came their way.
Co-written and directed by Aykroyd, this dark comedy tells the story of a group of New Yorkers (which includes Chase and Demi Moore) on their way to Atlantic City for a conference when a wrong turn leads them into the city of Valkenvania; an eerie looking town filled with decaying buildings and questionable characters. Upon failing to notice a stop sign, Chase and co. find themselves being pursued by a local policeman (Candy). After deciding the outrun the cop, the group is eventually captured and taken to the local jail/courthouse; a dilapidated mansion with various mazes, trapdoors, secret rooms, and hidden stairwells. After being presented to the local justice of the peace (a heavily-made-up Akyroyd) the group's trial is postponed until the morning and are placed into a holding cell. Desperate to escape, the trendy New Yorkers plunge ahead through the many traps the manaical judge and his family have set up.
It seems that everyone involved (save for Aykroyd) must have seen the writing on the wall with regards to the outcome of Nothing But Trouble. Although the studio was willing to give the actor turned novice director a chance, interference from executives was still a factor as they tried to bleed originality from Aykroyd's screenplay in favor of a more audience-friendly outing ( the most notable example of this was changing the film's title from the original Valkenvania to the overly-generic, not to mention critics' favorite Nothing But Trouble.) It seemed the cast didn't have much faith in the film either with Chase reportedly telling everyone he knew the film was bad news and how he committed to the project only to please his friend Aykroyd. Audiences shared the same reaction as Chase and the studio (who released the film in early February- the dumping time for films studios have lost faith in) as the $40 million movie grossed a measly $8 million. Adding to the proceedings were the 6 Razzie Nominations the film received the following year for Worst Supporting Actor (Akyroyd-for which he won), Worst Supporting Actress (Candy-for playing his twin sister), Worst Actress (Moore- who received another nomination that year for The Butcher's Wife), Worst Director (Akyroyd), Worst Screenplay (Aykroyd and his brother Peter) and Worst Picture.
It becomes obvious that there are only two types of audiences suitable for Nothing But Trouble: the first is comprised of fans of Candy (who also plays his character's twin sister), Chase and Aykroyd, who must have taken delight in seeing the three comedic giants share the same screen. The second are fans of dark, macabre comedy who appreciate Aykroyd's decidedly harsh touches. Its true that at times the movie does become a tad mean-spirited such as when another group of lawbreakers (this time a group of drugged-out party animals) are sentenced to death and are placed on a rollercoaster which throws them into a machine which tears off their flesh and spits out their bones onto a dart board or when Chase and Moore encounter a room full of IDs belonging to the judge's many past victims including the never-found Jimmy Hoffa. Yet even these touches are filled with more imagination than most of today's dark comedy offerings.
Its no surprise the critics hated Nothing But Trouble with a passion. While their lambasting of the film is overblown, to their credit there are some points in the film which simply don't work. For example, the casting of Moore (the only non-comedian in the film), the side plot featuring the derranged family's estranged cousins, and the musical number featuring Tupac Shakur (in which Aykroyd joins in) are all elements which should have been rethought.
And yet in spite of this, Nothing But Trouble is still a great deal of dark fun thanks to the cast, its winding story which never lets up, and incredible set pieces including an elaborate junk yard and a funhouse from hell. It may have been one of the biggest flops of 1991; spelling the end for Aykroyd as a director, but Nothing But Trouble remains today what its creator intended it to be-a great deal of dark, twisted fun.
http://www.youtube.com/watch?v=KgBxhLgTEvg
-enjoy watching Siskel and Ebert take the movie apart on their program in a misjudged review...
Co-written and directed by Aykroyd, this dark comedy tells the story of a group of New Yorkers (which includes Chase and Demi Moore) on their way to Atlantic City for a conference when a wrong turn leads them into the city of Valkenvania; an eerie looking town filled with decaying buildings and questionable characters. Upon failing to notice a stop sign, Chase and co. find themselves being pursued by a local policeman (Candy). After deciding the outrun the cop, the group is eventually captured and taken to the local jail/courthouse; a dilapidated mansion with various mazes, trapdoors, secret rooms, and hidden stairwells. After being presented to the local justice of the peace (a heavily-made-up Akyroyd) the group's trial is postponed until the morning and are placed into a holding cell. Desperate to escape, the trendy New Yorkers plunge ahead through the many traps the manaical judge and his family have set up.
It seems that everyone involved (save for Aykroyd) must have seen the writing on the wall with regards to the outcome of Nothing But Trouble. Although the studio was willing to give the actor turned novice director a chance, interference from executives was still a factor as they tried to bleed originality from Aykroyd's screenplay in favor of a more audience-friendly outing ( the most notable example of this was changing the film's title from the original Valkenvania to the overly-generic, not to mention critics' favorite Nothing But Trouble.) It seemed the cast didn't have much faith in the film either with Chase reportedly telling everyone he knew the film was bad news and how he committed to the project only to please his friend Aykroyd. Audiences shared the same reaction as Chase and the studio (who released the film in early February- the dumping time for films studios have lost faith in) as the $40 million movie grossed a measly $8 million. Adding to the proceedings were the 6 Razzie Nominations the film received the following year for Worst Supporting Actor (Akyroyd-for which he won), Worst Supporting Actress (Candy-for playing his twin sister), Worst Actress (Moore- who received another nomination that year for The Butcher's Wife), Worst Director (Akyroyd), Worst Screenplay (Aykroyd and his brother Peter) and Worst Picture.
It becomes obvious that there are only two types of audiences suitable for Nothing But Trouble: the first is comprised of fans of Candy (who also plays his character's twin sister), Chase and Aykroyd, who must have taken delight in seeing the three comedic giants share the same screen. The second are fans of dark, macabre comedy who appreciate Aykroyd's decidedly harsh touches. Its true that at times the movie does become a tad mean-spirited such as when another group of lawbreakers (this time a group of drugged-out party animals) are sentenced to death and are placed on a rollercoaster which throws them into a machine which tears off their flesh and spits out their bones onto a dart board or when Chase and Moore encounter a room full of IDs belonging to the judge's many past victims including the never-found Jimmy Hoffa. Yet even these touches are filled with more imagination than most of today's dark comedy offerings.
Its no surprise the critics hated Nothing But Trouble with a passion. While their lambasting of the film is overblown, to their credit there are some points in the film which simply don't work. For example, the casting of Moore (the only non-comedian in the film), the side plot featuring the derranged family's estranged cousins, and the musical number featuring Tupac Shakur (in which Aykroyd joins in) are all elements which should have been rethought.
And yet in spite of this, Nothing But Trouble is still a great deal of dark fun thanks to the cast, its winding story which never lets up, and incredible set pieces including an elaborate junk yard and a funhouse from hell. It may have been one of the biggest flops of 1991; spelling the end for Aykroyd as a director, but Nothing But Trouble remains today what its creator intended it to be-a great deal of dark, twisted fun.
http://www.youtube.com/watch?v=KgBxhLgTEvg
-enjoy watching Siskel and Ebert take the movie apart on their program in a misjudged review...
Monday, 19 April 2010
An Appreciation of Kevin Kline
-For years Kevin Kline has been one of film's most solid actors. He has proven his range in many kinds of films and his unique presence has greatly contributed to some of the most revered cinematic offerings of the last century (i.e. Sophie's Choice, The Big Chill, A Fish Called Wanda and The Ice Storm.) Its difficult to pinpoint exactly what it is about Kline that has endeared him to audiences for decades. Some suggest its his ability to deliver any line with the appropriate amount of class or manic intensity. Some say its his ability to tower like an overpowering leading man while still exuding a down to earth feeling. And still others point to an undeniable ability to transform himself according to whatever role he is playing while still maintaining his own unique personality. An Oscar winner who has deserved much more acclaim than he's been given in the past, below are 5 of Kline's most revered, yet slightly underrated performances which showcase the actor at his best.
1. Soapdish (1991)
-Although the film clearly had Sally Field geared as its leading lady, Kline is able to match up to her comedic abilities admirably. The story of a soap opera star (Field) who must confront her past when a former castmate/lover (Kline) returns and the farce that ensues was one of the early 90s most beloved comedies. Kline is at hs best as an actor rescued from trenches of dinner theater and is given one more chance to redeem himself by the soap opera world. He's funny, likeable and inhabits the role like a fine glove. Production delays on this film may have cost him the lead in Steven Speilberg's Hook, but his fine work in Soapdish resulted in a well-deserved Golden Globe Nomination.
http://www.youtube.com/watch?v=FwDSYbNSmss
2. Dave (1993)
-Kline plays Dave Covic, the owner of an employment agency who bears a striking resemblence to the current President. As a side job, Dave is hired out to make personal appearances as the commander-in-chief, but when the real leader has a stroke, Dave is recruited by the government to serve as the President full time. Dripping with Capra-esque ideals, the casting of Kline seems ideal as he so wonderfully embodies the spirit of Capra favoite Jimmy Stewart and infuses the role with his own charms. This smart political comedy has a humanistic feel thanks to its leading man who received a Golden Globe Nomination for his performance.
http://www.youtube.com/watch?v=Jt7TN_CKp9U&feature=related
3.Life as a House (2001)
-In a rare dramatic role, Kline portrays an archietect past him prime who has recently been let go from the firm he works at and as a result decides to build his dream home and bring along his estranged teenage son for the ride. Kline is absolutely pitch perfect as a man whose life has passed him by without knowing it and upon realizing it sets out to make things right. The premise of the film may seem simple, but story is still potent enough thanks to Kline's fully committed performance which never misses a beat. Its rare to see Kline in a role such as this for which he recevied a Screen Actors' Guild Nomination.
http://www.youtube.com/watch?v=QlAXZclowmI
4. De-lovely (2004)
-The life story of legendary composer Cole Porter may not have been one of the most sought-after properties in Hollywood, but its an undenaible fascinating life story nonetheless. As the music man himself, Kline is at his most whimsical; brilliantly capturing the romantic and idealistic Porter in all his facets. Kline recognizes Porter as a man with an unshakable passion for life and plays him as such. Its one of his best times on screen and one of the most enjoyable real-life channellings in recent times. Had the film not been released the same year as Ray, Kline might have gotten an Oscar Nomination for his work, instead he had to settle for an equally deserving Golden Globe Nomination.
http://www.youtube.com/watch?v=Kxncdtqjs6g
5. A Prairie Home Companion (2006)
-The film adaptation of Garrison Kiellor's long-running radio show was beautifully translated to film by the legendary Robert Altman and featured many standout characters. Yet it was Kline as the film's narrator and house detective which proved the most humorous. As Guy Noir, Kline comically channeled Sam Spade, Philip Marlowe and Jake Gitties to great effect. What makes Kline's performance work in this film so well is the fact that he plays his charcter in a strightforward manner rather than the second-rate gumshoe he actually is. Its Kline at his most serious, but also his silliest.
http://www.youtube.com/watch?v=CvOCeeCP6tY
1. Soapdish (1991)
-Although the film clearly had Sally Field geared as its leading lady, Kline is able to match up to her comedic abilities admirably. The story of a soap opera star (Field) who must confront her past when a former castmate/lover (Kline) returns and the farce that ensues was one of the early 90s most beloved comedies. Kline is at hs best as an actor rescued from trenches of dinner theater and is given one more chance to redeem himself by the soap opera world. He's funny, likeable and inhabits the role like a fine glove. Production delays on this film may have cost him the lead in Steven Speilberg's Hook, but his fine work in Soapdish resulted in a well-deserved Golden Globe Nomination.
http://www.youtube.com/watch?v=FwDSYbNSmss
2. Dave (1993)
-Kline plays Dave Covic, the owner of an employment agency who bears a striking resemblence to the current President. As a side job, Dave is hired out to make personal appearances as the commander-in-chief, but when the real leader has a stroke, Dave is recruited by the government to serve as the President full time. Dripping with Capra-esque ideals, the casting of Kline seems ideal as he so wonderfully embodies the spirit of Capra favoite Jimmy Stewart and infuses the role with his own charms. This smart political comedy has a humanistic feel thanks to its leading man who received a Golden Globe Nomination for his performance.
http://www.youtube.com/watch?v=Jt7TN_CKp9U&feature=related
3.Life as a House (2001)
-In a rare dramatic role, Kline portrays an archietect past him prime who has recently been let go from the firm he works at and as a result decides to build his dream home and bring along his estranged teenage son for the ride. Kline is absolutely pitch perfect as a man whose life has passed him by without knowing it and upon realizing it sets out to make things right. The premise of the film may seem simple, but story is still potent enough thanks to Kline's fully committed performance which never misses a beat. Its rare to see Kline in a role such as this for which he recevied a Screen Actors' Guild Nomination.
http://www.youtube.com/watch?v=QlAXZclowmI
4. De-lovely (2004)
-The life story of legendary composer Cole Porter may not have been one of the most sought-after properties in Hollywood, but its an undenaible fascinating life story nonetheless. As the music man himself, Kline is at his most whimsical; brilliantly capturing the romantic and idealistic Porter in all his facets. Kline recognizes Porter as a man with an unshakable passion for life and plays him as such. Its one of his best times on screen and one of the most enjoyable real-life channellings in recent times. Had the film not been released the same year as Ray, Kline might have gotten an Oscar Nomination for his work, instead he had to settle for an equally deserving Golden Globe Nomination.
http://www.youtube.com/watch?v=Kxncdtqjs6g
5. A Prairie Home Companion (2006)
-The film adaptation of Garrison Kiellor's long-running radio show was beautifully translated to film by the legendary Robert Altman and featured many standout characters. Yet it was Kline as the film's narrator and house detective which proved the most humorous. As Guy Noir, Kline comically channeled Sam Spade, Philip Marlowe and Jake Gitties to great effect. What makes Kline's performance work in this film so well is the fact that he plays his charcter in a strightforward manner rather than the second-rate gumshoe he actually is. Its Kline at his most serious, but also his silliest.
http://www.youtube.com/watch?v=CvOCeeCP6tY
Friday, 16 April 2010
Major Revamp of Blog Content
-I had so much fun making the compilation blogs leading up to the Oscars that i've decided to continue the trend and devote certain days of the week to creating blogs which explore various topics of film. This routine I plan on continuing weekly to have some more fun and change things up with this blog. However I don't plan on abandoning the blog's original purpose which is to celebrate various underrated and underappreciated films that have come and gone. So without further ado, here is my tentative make up for the new blog:
Mondays- Actor profile- I will look at certain highglights from the career of a particular actor or actress which I feel have contributed to making them one of the screen's most valued players.
Tuesday-Film Flops- A look at some of the most notorious cinematic disasters, why they are considered so terrible and what specifically is it about them that warrants revisiting.
Wednesday-Director Profile- Much in the same vein as the actor profile, I will be looking at some of the highlights of the careers from some of the most esteemed visual storytellers.
Thursday-Underrated classics- As usual, an examination of a film which received little to no attention when first released but deserves being written about due to its unique and hidden charms.
Friday-Theme Day-From horror, to musicals, to such topics as psychology and sex, to genres every Friday I will explore a various theme explored in film and various noteworthy examples which illustrate it.
Well that's the new plan!! I plan to set this into motion this upcoming Monday with my actor profile on an individual who is to be determined!! Til then!!
Mondays- Actor profile- I will look at certain highglights from the career of a particular actor or actress which I feel have contributed to making them one of the screen's most valued players.
Tuesday-Film Flops- A look at some of the most notorious cinematic disasters, why they are considered so terrible and what specifically is it about them that warrants revisiting.
Wednesday-Director Profile- Much in the same vein as the actor profile, I will be looking at some of the highlights of the careers from some of the most esteemed visual storytellers.
Thursday-Underrated classics- As usual, an examination of a film which received little to no attention when first released but deserves being written about due to its unique and hidden charms.
Friday-Theme Day-From horror, to musicals, to such topics as psychology and sex, to genres every Friday I will explore a various theme explored in film and various noteworthy examples which illustrate it.
Well that's the new plan!! I plan to set this into motion this upcoming Monday with my actor profile on an individual who is to be determined!! Til then!!
Tuesday, 6 April 2010
Living Out Loud- Movie of the Day (4/6/10)
-Living Out Loud (1998)
-Starring Holly Hunter, Danny Devito, and Queen Latifah
-Written and Directed by Richard Lagravenese
-Films about damaged people are not all that uncommon. Movies about seemingly happy, carefree individuals wouldn't be able to sustain any kind of audience for 2 hours. Yet in watching stories about people who have lost their way in life and rely on each other to help pull them through will forever be compelling cinema.
An excellent specimen of such a film is the criminally underrated 1998 comedy/drama Living Out Loud. The film tells the story of Judith Moore (Hunter); a recently divorced upper-east side New Yorker who finds she doesn't know who she is since her long-time husband has left her for another woman. Judith spends her days reading books, eating out, attending jazz clubs and engaging in other similar activites by herself without any real human contact. Meanwhile Pat (Devito) is a doorman at Judith's building who is struggling with problems of his own. His only daughter has just died after a lengthy battle with lukemia and his gambling debts have been mounting. It isn't long before the two connect and in each other, find a true friendship, a possible romance, and the encouragement to finally live the lives they were meant to live.
There is virtually nothing about this film that works against it. Everything from the casting to the writing, to the directing and choice of music serves the film and story well. The humor within it is carefully spaced out, but always present in an effort to not crowd the drama but to also remind veiwers that Living Out Loud is indeed a comedy. Hunter is without question brilliant as Judith and plays her as a controlled mess; a woman who seems poised on the outside but whose inner ramblings are truly manic and neurotic ("I can't stand those terrorists!! They're always so mad at everybody!!") Through Hunter, we get to know Judith inside and out; her fears, desires, her vulnerability and frustrations. Its one of Hunter's finest moments and one which should have brought her more acclaim than it did. Likewise as compelling is Devito as Pat who wears his heart on his sleeve and who doesn't posess a single alterior motive. Its the kind of role one doesn't normally see Devito play. Here the actor abandons his trademark quality and plays Pat in a straight manner allowing the character's humor to come from his own charm. Never has Devito been as down to earth and honest on screen as he is here. Rounding out the cast is a jazz singer named Liz Bailey (Latifah); a one-time recording artist who now sings at the jazz club Judith frequents and later befriends. Like Devito, Latifah doesn't give a flashy performance, but rather one which is full of honesty and (thanks to some choice jazz numbers) class.
Some choice moments in the film brilliantly chronicle Judith's journey. Such as her hilarious inner-monolouges which are filled with anger, yet are still amusing, the sequence in which she enjoys an erotic massage allowing her to feel sexual again and the sequence when she takes ecstasy and accompanies Liz to a nightclub where she partakes in well-choreographed dance sequence. The latter scene is perhaps the most important as it represents Judith's evolution towards re-discovering who she really is and, after magically encountering a teenage version of herself, who she was.
If the movie feels at all like it may be a hair too long, its only because the journey for the characters is so rich and LaGravanese doesn't want to short change their stories in any way. While both Judith and Pat have circumstances that seem dire, their clinging to each other and their belief in hope pulls them through. In fact it is that term hope which is perhaps the movie's biggest theme as seen by an ending that is non-conventional and certianly not the most ideal, but which serves the character's greatly in the long run.
Its fantastic to find a movie such as Living Out Loud whose sole purpose is to tell a real story about characters who are struggling to put themselves back together again. Its easy to find aspects of these people in your own life and if the movie leaves the viewer with anything, its the question: are we truly living our lives out loud??
http://www.youtube.com/watch?v=AFZGpZVQVm0
-Starring Holly Hunter, Danny Devito, and Queen Latifah
-Written and Directed by Richard Lagravenese
-Films about damaged people are not all that uncommon. Movies about seemingly happy, carefree individuals wouldn't be able to sustain any kind of audience for 2 hours. Yet in watching stories about people who have lost their way in life and rely on each other to help pull them through will forever be compelling cinema.
An excellent specimen of such a film is the criminally underrated 1998 comedy/drama Living Out Loud. The film tells the story of Judith Moore (Hunter); a recently divorced upper-east side New Yorker who finds she doesn't know who she is since her long-time husband has left her for another woman. Judith spends her days reading books, eating out, attending jazz clubs and engaging in other similar activites by herself without any real human contact. Meanwhile Pat (Devito) is a doorman at Judith's building who is struggling with problems of his own. His only daughter has just died after a lengthy battle with lukemia and his gambling debts have been mounting. It isn't long before the two connect and in each other, find a true friendship, a possible romance, and the encouragement to finally live the lives they were meant to live.
There is virtually nothing about this film that works against it. Everything from the casting to the writing, to the directing and choice of music serves the film and story well. The humor within it is carefully spaced out, but always present in an effort to not crowd the drama but to also remind veiwers that Living Out Loud is indeed a comedy. Hunter is without question brilliant as Judith and plays her as a controlled mess; a woman who seems poised on the outside but whose inner ramblings are truly manic and neurotic ("I can't stand those terrorists!! They're always so mad at everybody!!") Through Hunter, we get to know Judith inside and out; her fears, desires, her vulnerability and frustrations. Its one of Hunter's finest moments and one which should have brought her more acclaim than it did. Likewise as compelling is Devito as Pat who wears his heart on his sleeve and who doesn't posess a single alterior motive. Its the kind of role one doesn't normally see Devito play. Here the actor abandons his trademark quality and plays Pat in a straight manner allowing the character's humor to come from his own charm. Never has Devito been as down to earth and honest on screen as he is here. Rounding out the cast is a jazz singer named Liz Bailey (Latifah); a one-time recording artist who now sings at the jazz club Judith frequents and later befriends. Like Devito, Latifah doesn't give a flashy performance, but rather one which is full of honesty and (thanks to some choice jazz numbers) class.
Some choice moments in the film brilliantly chronicle Judith's journey. Such as her hilarious inner-monolouges which are filled with anger, yet are still amusing, the sequence in which she enjoys an erotic massage allowing her to feel sexual again and the sequence when she takes ecstasy and accompanies Liz to a nightclub where she partakes in well-choreographed dance sequence. The latter scene is perhaps the most important as it represents Judith's evolution towards re-discovering who she really is and, after magically encountering a teenage version of herself, who she was.
If the movie feels at all like it may be a hair too long, its only because the journey for the characters is so rich and LaGravanese doesn't want to short change their stories in any way. While both Judith and Pat have circumstances that seem dire, their clinging to each other and their belief in hope pulls them through. In fact it is that term hope which is perhaps the movie's biggest theme as seen by an ending that is non-conventional and certianly not the most ideal, but which serves the character's greatly in the long run.
Its fantastic to find a movie such as Living Out Loud whose sole purpose is to tell a real story about characters who are struggling to put themselves back together again. Its easy to find aspects of these people in your own life and if the movie leaves the viewer with anything, its the question: are we truly living our lives out loud??
http://www.youtube.com/watch?v=AFZGpZVQVm0
Monday, 22 March 2010
Alternative Oscar Nominees...Best Picture!!
-I'm beyond glad that The Hurt Locker took home the Best Picture award at the Oscars this year. If there was ever a film that was so artful, yet intense, as well as relevant, it was The Hurt Locker. Though the film was not a big money maker, it now has a place in history alongside the many other great motion pictures that came before it such as Gentleman's Agreement, The Deer Hunter, and Crash. I have very little doubt that anyone who did not see the film wanted any other nominee to take home the prize. Yet since the Academy opened up the top category to double the nominees, there was certainly a diverse group of choices. Without question, the darkest horse was The Blind Side, whose inclusion I suspect was based highly on box office rather that artistic merit, while others such as A Serious Man and Avatar had moments of brilliance, but their appearance on the list was also somewhat of a "hmm..." moment. Despite opening up the category to 10 possible winners, some of the most intriguing and worthy films of 2009 were shut out of the running. Below are my 5 alternative picks for Best Picture which I feel could easily have been worthy of one of the 10 spots. With the exception of one, none of these picks received any kind of Oscar recognition whatsoever in any of the other categories!! For that very reason, I shall also offer up some additional potential categories besides Best Picture which all of these films could have easliy fit into as well...enjoy!!
1. Afterschool
-The hit of several film festivals, Afterschool is indie director Antonio Campos' fourth feature and by far his most provacative to date. The film tells the story of a young boarding school student who feels unnerved by his surroundings; a feeling that more than escalates when he witnesses upon two popular fellow classmates overdose on drugs and die. Campos' bold move of abandoning the conventional movie camera techniques for a decidely more realist feel proved to be the ultimate comment on the heavily dependent youtube generation. The style of filmmaking only emphasizes the intese maddening feeling given off by the world of private school and one student's determination not to get lost within it. By far one of the most haunting films released this year.
Alt. Nominations:
Best Original Screenplay
Best Director- Antonio Campos
http://www.youtube.com/watch?v=nGFbWhlVezo
2. Duplicity
-The title on my list with the least amount of Oscar buzz, Duplicity was perhaps one of the most refreshing film offerings this year. From Bourne/Michael Clayton writer/director, Tony Gilroy, Duplicity concerns two ex-spies who come together to pull off a con on two of America's biggest corporations while at the same trying to stay ahead of one another. Not only does the movie have a sparkling script, lots of great location shots, and more than enough chemistry between the two leads, but Duplicity also successfully reworks the romance caper genre making it accessible to both passive and active audiences. The story structure of the film is laid out like a jigsaw puzzle, begging to be solved, while the romance and the comedy is fresh and present. All in all, a surprising and pleasant entry in an otherwise conventional genre.
Alt. Nominations-
-Best Original Screenplay
-Best Original Song- Being Bad
-Best Editing
http://www.youtube.com/watch?v=0PA92vCdgB8&feature=related
3. Everybody's Fine
-A remake of an earlier foreign film, Everybody's Fine is one of those special films that is able to fit comfortably into any era thanks to its universal story and the execution of it. The story deals with Robert DeNiro's elegaic journey across the country to visit his grown children whom he's grown slightly apart from since the death of wife a few months prior. Its so rare for a film to hit as many right notes as Everybody's Fine does. The acting, writing, directing all come together like a classical piece of music: delicate in its tone, yet strong enough to stir emotions. In an era where most films strive to be mind-blowing and life-altering, its refreshing to find a motion picture that simply wants to be fine.
Alt. Nominations-
-Best Original Song- (I Want to) Come Home
http://www.youtube.com/watch?v=XGXuhyVxrQM
4. Nine
-"From Rob Marshall, the director of Chicago" spelled death for the harshly judged, Fellini-inspired Nine. Those unfamiliar with the film's subject were constantly comparing it to Chicago while those who knew the story's background felt what they were seeing was a half-baked version of the original Broadway show. Nine is about a revered Italian film director who has come to a career block making him unable to start work on his new film as he tries to come to terms with the various women in his life. Although it didn't live up to the bevy of expectations piled upon it in the months prior to its release, Nine works as a dazzling array of offbeat, showstopping songs performed by an able star-studded cast while at the same time also paying homage to not only the great Federico Fellini, but also filmmakers in general and the practice of making a movie. Any true lover of films should find themselves shedding a tear by the end.
Alt. Oscar Nominees-
-Best Original Song- Cinema Italiano
-Best Director- Rob Marshall
-Best Adapted Screenplay
-Best Editing
http://www.youtube.com/watch?v=2B2N_iRUJ7Y
5. Where the Wild Things Are
-THE most underrated film released last year was without a doubt Spike Jonze's visionary adaptation of the classic children's book Where the Wild Things Are. The story of a boy who escapes his home life and finds himself in a world populated by giant creatures who adopt him as their king couldn't have been brought to the screen any better. Jonze has constructed a film not necessarily for children but for anyone who remembers a time in their lives when they felt the need to escape the ugly realities of the real world. Beyond the cathartic feelings it provokes from the audience, Where the Wild Things Are represents that seemingly undefinable moment in childhood when we slowly begin to grow up. Well-written, well-crafted, and beautifully shot, Where the Wild Things Are is my personal pick for best picture of 2009.
Alt. Nominations:
-Best Adapted Screenplay
-Best Director- Spike Jonze
-Best Cinematograpy
-Best Art Direction
-Best Original Score
http://www.youtube.com/watch?v=YFgB6xUzziU
Next Week...Back to my continuous appreciation of underrated films...
1. Afterschool
-The hit of several film festivals, Afterschool is indie director Antonio Campos' fourth feature and by far his most provacative to date. The film tells the story of a young boarding school student who feels unnerved by his surroundings; a feeling that more than escalates when he witnesses upon two popular fellow classmates overdose on drugs and die. Campos' bold move of abandoning the conventional movie camera techniques for a decidely more realist feel proved to be the ultimate comment on the heavily dependent youtube generation. The style of filmmaking only emphasizes the intese maddening feeling given off by the world of private school and one student's determination not to get lost within it. By far one of the most haunting films released this year.
Alt. Nominations:
Best Original Screenplay
Best Director- Antonio Campos
http://www.youtube.com/watch?v=nGFbWhlVezo
2. Duplicity
-The title on my list with the least amount of Oscar buzz, Duplicity was perhaps one of the most refreshing film offerings this year. From Bourne/Michael Clayton writer/director, Tony Gilroy, Duplicity concerns two ex-spies who come together to pull off a con on two of America's biggest corporations while at the same trying to stay ahead of one another. Not only does the movie have a sparkling script, lots of great location shots, and more than enough chemistry between the two leads, but Duplicity also successfully reworks the romance caper genre making it accessible to both passive and active audiences. The story structure of the film is laid out like a jigsaw puzzle, begging to be solved, while the romance and the comedy is fresh and present. All in all, a surprising and pleasant entry in an otherwise conventional genre.
Alt. Nominations-
-Best Original Screenplay
-Best Original Song- Being Bad
-Best Editing
http://www.youtube.com/watch?v=0PA92vCdgB8&feature=related
3. Everybody's Fine
-A remake of an earlier foreign film, Everybody's Fine is one of those special films that is able to fit comfortably into any era thanks to its universal story and the execution of it. The story deals with Robert DeNiro's elegaic journey across the country to visit his grown children whom he's grown slightly apart from since the death of wife a few months prior. Its so rare for a film to hit as many right notes as Everybody's Fine does. The acting, writing, directing all come together like a classical piece of music: delicate in its tone, yet strong enough to stir emotions. In an era where most films strive to be mind-blowing and life-altering, its refreshing to find a motion picture that simply wants to be fine.
Alt. Nominations-
-Best Original Song- (I Want to) Come Home
http://www.youtube.com/watch?v=XGXuhyVxrQM
4. Nine
-"From Rob Marshall, the director of Chicago" spelled death for the harshly judged, Fellini-inspired Nine. Those unfamiliar with the film's subject were constantly comparing it to Chicago while those who knew the story's background felt what they were seeing was a half-baked version of the original Broadway show. Nine is about a revered Italian film director who has come to a career block making him unable to start work on his new film as he tries to come to terms with the various women in his life. Although it didn't live up to the bevy of expectations piled upon it in the months prior to its release, Nine works as a dazzling array of offbeat, showstopping songs performed by an able star-studded cast while at the same time also paying homage to not only the great Federico Fellini, but also filmmakers in general and the practice of making a movie. Any true lover of films should find themselves shedding a tear by the end.
Alt. Oscar Nominees-
-Best Original Song- Cinema Italiano
-Best Director- Rob Marshall
-Best Adapted Screenplay
-Best Editing
http://www.youtube.com/watch?v=2B2N_iRUJ7Y
5. Where the Wild Things Are
-THE most underrated film released last year was without a doubt Spike Jonze's visionary adaptation of the classic children's book Where the Wild Things Are. The story of a boy who escapes his home life and finds himself in a world populated by giant creatures who adopt him as their king couldn't have been brought to the screen any better. Jonze has constructed a film not necessarily for children but for anyone who remembers a time in their lives when they felt the need to escape the ugly realities of the real world. Beyond the cathartic feelings it provokes from the audience, Where the Wild Things Are represents that seemingly undefinable moment in childhood when we slowly begin to grow up. Well-written, well-crafted, and beautifully shot, Where the Wild Things Are is my personal pick for best picture of 2009.
Alt. Nominations:
-Best Adapted Screenplay
-Best Director- Spike Jonze
-Best Cinematograpy
-Best Art Direction
-Best Original Score
http://www.youtube.com/watch?v=YFgB6xUzziU
Next Week...Back to my continuous appreciation of underrated films...
Thursday, 11 March 2010
Alternative 2009 Oscar Nominees- Best Actor
-Due to an unforseeable accident w/my internet provider, I was without internet for several days and as a result, I couldn't finish my alternative Oscar nomination posts prior to the awards ceremony. However, I now have my internet restored and will complete the two remaining posts despite the loss of some of their timeliness.
-I don't think that anyone was upset the Jeff Bridges won for his role in Crazy Heart. Certainly an actor with so many classics to his name as well as multiple nominations is definitley worthy of film's highest honor. The same is true (although to a lesser extent) of most of the remaining nominees. Colin Firth gave what was the culmination of his career through his haunting portrait in A Single Man which showed him at his best advantage. Jeremy Renner's work in The Hurt Locker likewise provided the seasoned actor with a fantastic platform from which to showcase the range of his acting. Morgan Freeman was finally able to give the public the role everyone had been waiting for him to play for so long; that of Nelson Mandella in Invictus. Only George Clooney, who gave his trademark disheveled businessman act in Up in the Air remains the odd one out in my opinion. This is not to say Clooney isn't talented, it just doesn't help when an actor continues to give the same performance as he did in his previous Oscar roles. In any case, below are five actors who did extraordinary work this year, giving performances in films which sadly went unnoticed by many, yet were definitley worthy of Oscar recognition.
1. Hugh Dancy for Adam
-Dancy, always cast as a stereotypical british gentleman (w/some notable exceptions), is finally allowed to stretch as an actor playing a man diagnosed with ausperger's syndrome who meets the girl of his dreams. Dancy skillfully handled both the comedic and dramatic elements deftly and was able to make the character of Adam a likeable enigma throughout. Its doubtful that we'll ever get to see Dancy in a role which allows him such whimsy and humanity. But I hope I'm wrong.
http://www.youtube.com/watch?v=92U6OnVZG3U
2. Johnny Depp for Public Enemies
-Even though most people thought that Michael Mann's much-anticipated Public Enemies was both overblown and underwhelming (myself included), many agreed that Depp's performance was indeed the film's saving grace. As legendary criminal John Dillinger, Depp once again added a memorable character to his film catalogue. Rather than give a movie star performance shrouded in mystery, Depp presents an honest and up-front portrait of America's one-time public enemy number 1. While not as flashy as most of his other roles in recent years, his turn in Public Enemies succeeds in showing the boundless talent of Johnny Depp.
http://www.youtube.com/watch?v=Q8xOgO7_eT8
3. Joseph Gordon Levitt in (500) Days of Summer
-Levitt has always been one of the most interesting younger actors around primarily due to the projects he takes on. The actor eases between comedy, drama, big-budget, and indie fare seamlessly; giving total and complete devotion to each role he undertakes. Yet in (500) Days of Summer, Levitt is at his very best. As a young greeting card writer who falls for a co-worker, Levitt was mesmerizing playing scenes of hilarity, romance, frustration and despair. It is one of the finest male peerformances given all year long and a testement to one of the most talented former child actors.
http://www.youtube.com/watch?v=8tJoIaXZ0rw
4. Sam Rockwell in Moon
-Sam Rockwell has always been one of the screen's most underapprectiated actors. His brilliant turns in The Green Mile, Confessions of a Dangerous Mind and Choke were all works of genius. In Moon, Rockwell truly inhabits the role of his career as an astronaut sent into space for a solo mission which lasts for 3 years. Being virtually the only cast member on film, the show was Rockwell's and through bouts of fright, paranoia and devastation, the actor was absolutely outstanding. Its another performance from one of the finest actors working today.
http://www.youtube.com/watch?v=twuScTcDP_Q
5. Michael Stuhlbarg in A Serious Man
-I can imagine its not that easy to carry an entire film on one's own, let alone a Coen Bros.' film. Yet that's just what Michael Stuhlbarg did, magnificently I might add, in A Serious Man. Playing a professor who sees his entire life crumbling around him in 1960s America, Stuhlbarg was ideally cast. Though his work prior to this has been limited to theater and TV spots, I sincerely hope after having seen A Serious Man, that the film world takes notice of such an incredible talent.
http://www.youtube.com/watch?v=ETSYOibG-_Y&feature=related
Tomorrow...Best Picture...finally!!
-I don't think that anyone was upset the Jeff Bridges won for his role in Crazy Heart. Certainly an actor with so many classics to his name as well as multiple nominations is definitley worthy of film's highest honor. The same is true (although to a lesser extent) of most of the remaining nominees. Colin Firth gave what was the culmination of his career through his haunting portrait in A Single Man which showed him at his best advantage. Jeremy Renner's work in The Hurt Locker likewise provided the seasoned actor with a fantastic platform from which to showcase the range of his acting. Morgan Freeman was finally able to give the public the role everyone had been waiting for him to play for so long; that of Nelson Mandella in Invictus. Only George Clooney, who gave his trademark disheveled businessman act in Up in the Air remains the odd one out in my opinion. This is not to say Clooney isn't talented, it just doesn't help when an actor continues to give the same performance as he did in his previous Oscar roles. In any case, below are five actors who did extraordinary work this year, giving performances in films which sadly went unnoticed by many, yet were definitley worthy of Oscar recognition.
1. Hugh Dancy for Adam
-Dancy, always cast as a stereotypical british gentleman (w/some notable exceptions), is finally allowed to stretch as an actor playing a man diagnosed with ausperger's syndrome who meets the girl of his dreams. Dancy skillfully handled both the comedic and dramatic elements deftly and was able to make the character of Adam a likeable enigma throughout. Its doubtful that we'll ever get to see Dancy in a role which allows him such whimsy and humanity. But I hope I'm wrong.
http://www.youtube.com/watch?v=92U6OnVZG3U
2. Johnny Depp for Public Enemies
-Even though most people thought that Michael Mann's much-anticipated Public Enemies was both overblown and underwhelming (myself included), many agreed that Depp's performance was indeed the film's saving grace. As legendary criminal John Dillinger, Depp once again added a memorable character to his film catalogue. Rather than give a movie star performance shrouded in mystery, Depp presents an honest and up-front portrait of America's one-time public enemy number 1. While not as flashy as most of his other roles in recent years, his turn in Public Enemies succeeds in showing the boundless talent of Johnny Depp.
http://www.youtube.com/watch?v=Q8xOgO7_eT8
3. Joseph Gordon Levitt in (500) Days of Summer
-Levitt has always been one of the most interesting younger actors around primarily due to the projects he takes on. The actor eases between comedy, drama, big-budget, and indie fare seamlessly; giving total and complete devotion to each role he undertakes. Yet in (500) Days of Summer, Levitt is at his very best. As a young greeting card writer who falls for a co-worker, Levitt was mesmerizing playing scenes of hilarity, romance, frustration and despair. It is one of the finest male peerformances given all year long and a testement to one of the most talented former child actors.
http://www.youtube.com/watch?v=8tJoIaXZ0rw
4. Sam Rockwell in Moon
-Sam Rockwell has always been one of the screen's most underapprectiated actors. His brilliant turns in The Green Mile, Confessions of a Dangerous Mind and Choke were all works of genius. In Moon, Rockwell truly inhabits the role of his career as an astronaut sent into space for a solo mission which lasts for 3 years. Being virtually the only cast member on film, the show was Rockwell's and through bouts of fright, paranoia and devastation, the actor was absolutely outstanding. Its another performance from one of the finest actors working today.
http://www.youtube.com/watch?v=twuScTcDP_Q
5. Michael Stuhlbarg in A Serious Man
-I can imagine its not that easy to carry an entire film on one's own, let alone a Coen Bros.' film. Yet that's just what Michael Stuhlbarg did, magnificently I might add, in A Serious Man. Playing a professor who sees his entire life crumbling around him in 1960s America, Stuhlbarg was ideally cast. Though his work prior to this has been limited to theater and TV spots, I sincerely hope after having seen A Serious Man, that the film world takes notice of such an incredible talent.
http://www.youtube.com/watch?v=ETSYOibG-_Y&feature=related
Tomorrow...Best Picture...finally!!
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