Me and Orson Welles, Red Cliff, The Road, and Ninja Assassin
Me and Orson Welles (Three and a Half Stars)
U.S.; Richard Linklater, 2009
In Me and Orson Welles, Richard Linklater, a director whose films I usually like, takes on a highly ambitious subject that really appeals to me — a portrayal of the astonishing youthful theatrical triumphs of the 22-year-old Welles, his adroit and urbane (and long-suffering) producer John Houseman, and of their ingenious, experimental 1937 Mercury Theater production of Shakespeare’s Julius Caesar — and does them all really proud. Hail Caesar! Hail Orson! Hail Houseman! Hail Mercury players, past and present, real and recreated! And of course, Hail Richard — Linklater, that is. (more…)
Falling Off The Chart (as we go to 10 votes per guru and only 10 votes)
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District 9
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Where the Wild Things Are
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Bright Star
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The Young Victoria
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Sharlto Copley
No comment.
Best Actor: Optimus Prime
Robot-Americans have too long gone unrecognized by the Academy.
Michelle Pfeiffer, Best Actress for “Cheri”
One of her best performances in years that would have gotten much more attention if the movie was released in the fall than when it was dumped in June.
Michael Sheen Best Actor for “The Damned United.”
This underrated actor just keeps getting screwed over for such remarkable portrayals it would be nice to see him finally recognized.
Pedro Almodovar, Best Director
No comment.
Christian McKay, Best Actor nominee for Me and Orson Welles.
He looks remarkably like the young Orson Welles (it’s biology, not parody) and he effortlessly channels the man’s energy and charisma, demonstrating how one so demanding could be so loved.
Matt Damon for The Informant!
No comment.
Paul Schneider, Bright Star – Best Supporting Actor
In a role I might have thought a little beyond him, he did everything a great supporting performance should do and the film was better for his presence in it.
Jeremy Renner for The Hurt Locker
By the time they vote for winners, he could be a frontrunner… but needs to get nominated 7 weeks earlier.
Sharlto Copley, best actor
No comment.
Wes Anderson, Best Director, Fantastic Mr. Fox
No comment.
Peter Capaldi for In the Loop
Peter Capaldi for the In the Loop, or any recognition for that film at all, would be great – one of the best and underrated films of 2009.
Antichrist
No comment.
Bright Star
No comment.
Ed Asner in Up. Or Dakota Fanning for Coraline or Seth Rogen in Monsters vs. Aliens or George Clooney as Mr. Fox.
Please Note: Votes for #11 & #12 are not counted in the numbers and are just offered for perspective on what films may be on the verge of joining the Top 10.
Could be the shock winner… lifetime achievement and a great role & performance.. and unlike some stage gods, he is a relentless charmer in person
Jeff Bridges – Crazy Heart
Bridges biggest Oscar problem is that he is always good enough to win.
Morgan Freeman – Invictus
Seems obvious, no?
Colin Firth – A Single Man
A well-liked actor and man… fine performance
Jeremy Renner – The Hurt Locker
The ambiguous center of one of the few truly great films of 2009
Peter Sarsgaard – An Education
Is he lead or supporting… either way, he should be nominated for this complex, but slick work
Viggo Mortensen – The Road
Sucha great performance… but will the voters watch this film… and how will it play on DVD?
Michael Stuhlbarg – A Serious Man
Needs some push so as not to get lost
Matt Damon – Invictus
Is he lead or supporting… either way, we won’t know until the film is seen.
BEST SUPPORTING ACTOR
Actor – Film
Comment
Stanley Tucci – Julie and Julia or The Lovely Bones
I am sure he will get a nod, but will it be for the loving, supportive hubby or the murderous, creepy child molester?
Matt Damon – Invictus
Is he lead or supporting… either way, we won’t know until the film is seen. but we’re guessing Supporting and that his stardom and good guy-ness will rule the day.
Christopher Walz – Inglourious Basterds
The memorable performance
Alfred Molina – An Education
Great guy, great performance, very likeable
Tobey Maguire – Brothers
A brilliant turn… people will vote for him off the clips
Peter Capaldi – In The Loop
So deserving… hard get for a guy from out of town without big bucks pushing him
Quinton Aaron – The Blind Side
Would be the shocker of the season
Woody Harrelson – The Messenger
His finest work… but getting eyeballs will be hard and he is an outsider in this game
Alec Baldwin – It’s Complicated
When they run out of Emmys…
Paul Schneider – Bright Star
One of the finest young character actors… maybe next year
Peter Sarsgaard – An Education
Is he lead or supporting… either way, he should be nominated for this complex, but slick work
This year’s season is slooooowly rolling out… which is ironic, given that all but four of the major contenders have been seen… and one of them, Nine, rolls out for junketeers this Friday. (more…)
Please Note: Votes for #11 & #12 are not counted in the numbers and are just offered for perspective on what films may be on the verge of joining the Top 10.
Please Note: Votes for #11 & #12 are not counted in the numbers and are just offered for perspective on what films may be on the verge of joining the Top 10.
That sound you heard coming out of the Toronto International Film Festival this year…
Near silence.
The films that came in hot (An Education & Precious) stayed hot, the new film expected to come out hot (Up In The Air & A Serious Man) came out hot, and a total of one title that went in unsure came out with some heat, A Single Man.
Just not that exciting, awardswise.
There were other good movies. But there was not much of a fuse lit. Studios started pushing away from the Gala events at Roy Thompson Hall, often preferring the less tony environs of the Elgin, the newly reopened for movies Winter Garden, and often the college theater energy of Ryerson Hall.
The Road wasn’t killed… but it didn’t come flying out of the week either. Capitalism: A Love Story wasn’t a car wreck… but it was a lot more Sicko than Fahrenheit 9/11.
At $1 million, A Single Man was the biggest sale of the festival… which tells you right away that there were no rush-it-out sure bets like The Wrestler or The Hurt Locker in play at the festival this year.
Creation, Agora, Chloe, Mother & Child, The Private Lives of Pippa Lee, Micmacs, Love & Other Impossible Pursuits, The Young Victoria, Triage, Harry Brown, The Joneses, The Vintner’s Luck, The Boys Are Back, Leaves of Grass, Life During Wartime, Ondine, and London River are part of the long list of high profile titles looking to break out at TIFF and just not doing so. Cannes hits Broken Embraces, Bright Star, A Prophet, and The Imaginarium of Doctor Parnassus did fine… but didn’t have a next step, propelled by Oprah or anyone else.
The non-Best Picture arthouse breakout may turn out to be the Chinese-made City of Life & Death while the most commercial films might be Whip It (large size) and Bad Lieutenant: Port of Call New Orleans (small size).
But still… the only potentially significant awards story to emerge from TIFF 2009 was A Single Man.
And the only really bad news for a film that was looking for a push out of TIFF was Bright Star, which opened on 19 screens for a 3-day $9,984 per-screen average and expanded to 130 screens and a $5,168 per-screen. The film is running slightly ahead of Cheri, as an example, on weekend per-screen, though after 10 days, Cheri is running slightly ahead of Bright Star because of weekday numbers. I still expect Bright Star to outperform Cheri, but $5 million seems like the high bar domestically. That is unlikely to be enough to make the Best Picture leap, especially in a season with an unusual number of strong female-driven films (Nine, Precious, An Education, Coco Before Chanel, Julie and Julia, Amelia, It’s Complicated and more).
Outside of Toronto, there have also been casualties of timing. Films from Martin Scorsese, Alejandro González Iñárritu, Lasse Hallstrom, Neil Jordan, and Paul Greengrass all are out of the game because they won’t be released this year.
What is clear is that there is plenty of room to fight for a slot at this point. Of my Top 12 – which is really my entire top group at this point – only three of the films are unseen as of this writing (Nine, Invictus, and Avatar). In addition, there are a couple of completely blind items, like Zemeckis’ A Christmas Carol and Peter Jackson’s The Lovely Bones. Traditionally, films like Sherlock Holmes, The Blind Side, and It’s Complicated are commercial films and not Oscar films… but there is always room for a pop.
What finally smashed me in the face up in Toronto was that with 10 Best Picture nominees and only five in each of the acting slots, it could get pretty weird. Nine and Precious are actress fests. Invictus, A Serious Man, A Single Man, and The Hurt Locker are actor parties. But at the same time, you have to assume an Oscar nomination for Daniel Day Lewis in Nine and for Julianne Moore in A Single Man. How many of the 8 star actresses can be nominated for Nine?
If it’s Day-Lewis, Clooney, Firth, Renner, and Damon… what happens to Mortensen, Wahlberg, Sarsgaard, Stuhlbarg, and Maguire?
If it’s Streep, Mulligan, Cotillard, Weisz, and Sidibe… what happens to Tautou, Cruz, Cornish, Swank, and Theron?
Supporting Actor is looking like the softest category with potential in Gyllenhaal, Tucci, Molina, Duvall, and Kind.
Best Supporting Actress is a MONSTER… Just Nine has Dench, Loren, Hudson, Cruz, and Kidman. Add Ronan, Farmiga, Kendrick. Moore, Adams, Portman… and God knows who else?
So here we are… about two months from things really locking in… and while The Ten doesn’t seem to be in for a whole lot of changes, there are some big fights brewing in the other categories. With 10 nominees, all of these films are more likely to be seen by Academy voters.. making it all the more interesting.
The Gurus each picked 15 contenders, each giving 3 gold stars for being the most likely.
Then each Guru picked one underdog actor and actress who might surprise with a nomination.
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.