MCN Columnists
David Poland

By David Poland poland@moviecitynews.com

Best Picture

BEST PICTURE
Picture
Studio
Director
Stars
Comment
The Frontrunners (in alphabetical order)
Dec 19
The Curious Case of Benjamin Button
Par
Fincher
Pitt
Long & gauzy, but one of the great young filmmakers in the world with a classic tale… could be a better Gump or another Joe Black… or in between
Nov 19 Slumdog Millionaire
FxSch
Boyle
The feel good, underdog movie of the season. If anyone can get Academy members to see it, it’s Searchlight… boding well in a narrow season
Dec 12
Doubt
Mir
Shanley
Streep
PS Hoffman
A movie about the power of lies, whether true or not… a McCain upset pushes this one to the top of the pile… an Obama win and… we’ll see
Dec 5

Frost/Nixon
U
Howard
Langella
Sheen
Very solid piece, but how Nixon feels for audiences in the US may well depend on how they feel about the election results
Nov 26
Milk
Focus
Van Sant
Penn
Brolin
People forget that when Van Sant works straight, he is a top mainstream filmmaker. Add that assuption of quality to a compelling story and a strong gay constituency in The Academy and it looks like a strong player.
Nov 14
Australia
Fox
Luhrmann
Kidman
Jackman
Right there in the starting gate… Baz can deliver romance like no other… but will this be enough like “other” for Academy to embrace it?
Dec
Gran Torino
WB
Eastwood
Eastwood
Seems like a solid fit… we won’t know until Clint tells us
Dec 26
Revolutionary Road
ParV
Mendes
Winslet
DiCaprio
Personal dramas need to be more than very good to stick… but being apolitical may be a blessing this season
Summer The Dark Knight
WB
Nolan
Ledger
The mega-money movie that Academy leadership would love to see as ratings bait (however flawed that thinking) and which older Academy are lukewarm about
Oct 17
W.
LGF
Stone
Brolin
Burstyn
Not a lot of “experts” see this one as a serious player… but all it has to be is brilliant and it moves to the top of the charts. And why asume that Stone isn’t up to it? If he pulls it off, the rarest of successes… a real-time political biopic.
And The Films O’ Potential
Spring The Visitor
Ov
McCarthy
Jenkins
Really well loved by older viewers… but can a new distribution company fight the fight?
Oct 3
Rachel Getting Married
SPC
Demme
Hathaway
Winger
DeWitt
A wonderful Altmanesque film that challenges some audiences. A tough get in a season of quirky films.
Oct 10
Body of Lies
WB
Scott
DiCaprio
Crowe
Looking d.o.a.
Oct 10 Happy Go Lucky
Mir
Leigh
Hawkins
Solid, sweet Mike Leigh… but probably not enough muscle for anything but an acting nod
Oct 24
Changeling
U
Eastwood
Jolie
I haven’t personally seen it. Those who did, in Cannes, don’t seem to feel it is an Oscar player, aside from acting.
Nov 11
The Road
TWC/
MGM
Hillcoat
Theron
Mortensen
Dark, dark, dark… Hillcoat is a genius.. but can it click?
Nov 21
The Soloist
DW
Wright
Downey, Jr
Foxx
My teeth are rotting just thinking about it.
Dec Che
IFC
Soderbergh
Del Toro
Brilliant and truly epic… but can IFC afford to shove it into the race? Probably not. Would help to have a giant, one-of-a-kind event for the film in Los Angeles or NY.
Dec 12
Defiance
ParV
Zwick
Craig
Lots of movies “about something” this year. Between the classic Zwick 3rd Act Flop and a parade of depth, will this one stand out?
Dec 12
Seven Pounds
Sony
Muccino
Smith
Has potential as a major surprise. Smith was nominated for his last Muccino film and the power of hope might make a comeback.
Dec 19 The Wrestler
FxSch
Aronofsky
Rourke
Strong indie film… all about IFPs… not getting a BP nod should not be dissapointing… will be one of the best of the year in the end, no matter what the awards positioning.
? The Reader
TWC
Daldry
Winslet
Fiennes
The problem with Harvey Weinstein shoving this in is that it will be very hard to overcome the lack of support from Mrs. Mendes and a late start.
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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon