Hey Kids - Funtime Oscar Picks 2013!

As I’ve said before, the 85th Academy Awards, airing Sunday night on ABC, is looking like one of the most unpredictable Oscars ever. So I bet I get more wrong this time than usual. But it's all in fun so what the Hell!

Here are my picks:

1. BEST PICTURE: ARGO 

Yep, I'm going with the theory that the Academy will make up for not nominating Ben Affleck for Best Director and give him the gold for his film, which I think deserves to win. LINCOLN looks pretty possible too, and I could see SILVER LININGS PLAYBOOK being an upset, but I'm still going with ARGO.

2. BEST DIRECTOR: Steven Spielberg for LINCOLN

3. BEST ACTOR: Daniel Day-Lewis for LINCOLN

4. BEST ACTRESS: Jennifer Lawrence for SILVER LININGS PLAYBOOK

5. BEST SUPPORTING ACTOR: Robert De Niro for SILVER LININGS PLAYBOOK

6. BEST SUPPORTING ACTRESS: Anne Hathaway for LES MISÉRABLES

And the rest:

7. PRODUCTION DESIGN: LES MISÉRABLES (Eve Stewart, Anna Lynch-Robinson)

8. CINEMATOGRAPHY: LIFE OF PI (Claudio Miranda)

9. COSTUME DESIGN: ANNA KARENINA (Jacqueline Durran)

10. DOCUMENTARY FEATURE: SEARCHING FOR SUGAR MAN

11. DOCUMENTARY SHORT: OPEN HEART (Kief Davidson, Cori Shepherd Stern)

12. FILM EDITING: ARGO (William Goldenberg)

13. MAKEUP: THE HOBBIT: AN UNEXPECTED JOURNEY (Peter King, Rick Findlater, Tami Lane)

14. VISUAL EFFECTS: LIFE OF PI (Bill Westenhofer, Guillaume Rocheron, Erik De Boer, Donald Elliott)

15. ORIGINAL SCORE: LIFE OF PI (Mychael Danna)

16. ORIGINAL SONG: “Skyfall” (Adele, Paul Epworth)

17. ANIMATED SHORT: PAPERMAN (John Kahrs)

18. LIVE ACTION SHORT: CURFEW (Shawn Christensen)

19. SOUND EDITING: ZERO DARK THIRTY (Paul N.J. Ottosson)

20. SOUND MIXING: LES MISÉRABLES (Andy Nelson, Mark Paterson, Simon Hayes)

21. ORIGINAL SCREENPLAY: DJANGO UNCHAINED (Quentin Tarantino)

22. ADAPTED SCREENPLAY: LINCOLN (Tony Kushner)

23. ANIMATED FEATURE FILM: BRAVE (Mark Andrews, Brenda Chapman) What I want to win: WRECK-IT RALPH.

24. BEST FOREIGN FILM: AMOUR (Dir. Michael Haneke)

Check back Monday morning to see how many I got wrong.

Also, I should again plug my appearance on postmodcast in which I discuss the Oscars with host Kevin Brewer.

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New Releases On Blu Ray & DVD 2/19/13

Just in time for the Oscars comes the Blu ray/DVD release of one of the major contenders: Ben Affleck’s ARGO. The 2-disc Blu ray edition contains such Special Features as a commentary by director Affleck, Feature Length Picture in Picture: Eye Witness Account, and several featurettes including “Rescued from Tehran: We Were There,” “Argo: Absolute Authenticity,” “ARGO: The CIA & Hollywood Connection,” and “Escape From Iran: The Hollywood Option.”

Read my review of ARGO (it was #3 on my Top 10 of 2012 BTW), and check out the movie that should have gotten Affleck a nomination for Best Director (and that I hope will win Best Picture). The Blu ray/DVD combo also includes an UltraViolet digital copy. 

ANNA KARENINA, nominated for four Oscars, also drops today in a Blu ray release with the obligatory DVD, and digital copy add-ons. I was “Anna Karenina”-illiterate when I saw it last December, but appreciated the artsy approach to the material that Joe Wright took, which involved an old theater backdrop that evolved with the production (my review here). Perhaps the best of Wright and Keira Knightley’s literary trilogy, it looks like a shoo-in to win the Best Costume Design Academy Award on Sunday night. 

Special features: Deleted Scenes, commentary with Wright, and a batch of featurettes (“Anna Karenina: An Epic Story About Love,” “Adapting Tolstoy,” “Keira as Anna,” “On the Set with Director Joe Wright,” “Dressing Anna,” and “Anna Karenina: Time-Lapse Photography”).

Another big new release today is the second season of HBO’s hit show Game of Thrones on Blu ray and DVD. My wife and I are about halfway through this new 5 disc box (seems like they only put two or so episodes a disc to make it a more expensive set), and I’m enjoying the war of the Lannisters and Starks families a lot more than in season one. Some of the effects stand out unconvincingly, and I may get a few of the characters confused, but the lavish landscapes, spectacular battles, and wicked wit in the wordplay (especially coming from Peter Dinklage as "The Imp" Tyrion Lannister) more than suffice.

Haven’t explored the exclusive Blu ray features much since we haven’t finished the season, but they include an interactive guide “War of the Five Kings,” Hidden Dragon Eggs, featurettes such as “Histories and Lore,” “Creating the Battle of Blackwater Bay,” “The Religion if Westeros,” 12 audio commentaries, and a roundtable discussion of Game of Thrones’ Inner Circle. The thick book-like Blu ray box also includes DVD copies, and a Digital Copy of the complete season.

A lesser release, in my opinion that is, today is the Ethan Hawke horror movie SINISTER, directed by Scott Derrickson, on Blu ray and DVD. I wasn’t a fan of the film (my review), which has Hawke as a true crime writer who moves his wife and kids in into a house where a family of four was found hanged from a tree in the backyard, but some critics liked it (Ebert gave it 3 stars, Entertainment Weekly named it the best horror film of 2012) so decide for yourself. It’s your funeral. 

SINISTER’S Special Features include a commentary with director Derrickson, and a second one with Derrickson and C.Robery Cargill, a “True Crime Authors” featurette, “Living in a House of Death” featurette, Deleted Scenes (with optional audio commentary with Scott Derrickson), and the theatrical trailer.

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Holiday Season Cinema Roundup 2012 Part 2

Continuing Film Babble Blog's end of the year roundup (check out Part 1 here), we now take a look at several more movies currently playing this holiday season:

LES MISÉRABLES (Dir. Tom Hooper) 

I was surprised at how many of the songs that I was familiar with in this adaptation of the wildly popular musical based on the 1862 Victor Hugo novel. I had forgotten that a long time ago an ex-girlfriend had the CD set of the Original Broadway Cast Recording from the late '80s, so much of it came flooding back as the film unfolded on the screen.

As my memories and the movie coalesced, I took in this French revolution era tale about Hugh Jackman as an escaped convict, who after becoming mayor of a small town, agrees to take care of deceased factory worker Anne Hathaway’s daughter (played by Isabelle Allen as a child; Amanda Seyfried as an adult). As sleazy innkeepers, Helena Bonham Carter and Sacha Baron-Cohen bring on the bawdy and steal the movie whenever they appear.

Jackman, Hathaway, and Seyfried, who all sing their parts live, are in fine voice, but Russell Crowe, as a ruthless policeman who’s hunting Jackman, has a rough warble that can be painful to endure - especially when the songs go on and on, which they often do. Hooper’s epic production, which clocks in at 157 minutes, wonderfully wallows in the muck of its dark, grotesque imagery, but its messiness can be overwhelming at times. Folks who aren’t fans of the musical, or musicals in general, will find it hard to take, but for the most part, I took it just fine.

JACK REACHER (Dir. Christopher McQuarrie) 

Looks like Tom Cruise wants another franchise as this is an adaptation of one of seventeen in a series of novels by Lee Child. This action thriller formula is competently constructed, but its story - Cruise as an ex-army military police investigator tries to get to the bottom of a case involving a trained military sniper who shot five random people - isn't very compelling. 

Some excitement is there in a few set-pieces, but its climax containing a shoot-out at a construction site, only hammers home how routine a genre exercise it is. Still, Cruise fans should love it as he makes a convincing unshakable badass, and Werner Herzog makes a great villain. Read my full review here.

THIS IS 40 (Dir. Judd Apatow)

Judd Apatow’s glorified home movie is his third film to feature his wife (Leslie Mann) and kids (daughters Maude and Iris), so you know he thinks they’re funny. To his credit, for a lot of its running time (another long one at 134 min) they are funny, but this is a big sloppy comic drama with too many storylines that never really get resolved. Paul Rudd and Mann, reprising their married couple roles from KNOCKED UP, have good chemistry together, and Albert Brooks, as Rudd’s father dealing with new triplets, is highly amusing, so there’s enough here to satisfy most comedy fans. Folks who aren’t fans of heavy amounts of profanity, or Apatow’s brand of man-boy humor in general may want to skip it however. Read my full review.

ANNA KARENINA 
(Dir. Joe Wright) 

Leo Tolstoy's 1868 novel has been adapted many many times, but Wright, in the third of his “literary trilogy” with Keira Knightly, has a meta take on the material involving setting the late 19th-century Russian story in a lavish old theater that evolves within the production into whatever backdrop is needed. Knightly, as the title character, works around the ropes, pulleys, curtains, footlights, and appropriate props, to portray a virtuous woman in a loveless marriage to an imperial minister (a balding, bearded, and quite boring Jude Law) who has an affair with Aaron Taylor-Johnson as a dashing cavalry officer. It can get a bit strained at times in its second half, but Wright's inventive reworking of the well worn material makes it recommendable. Read my full review here.

Well, that's it for this not bad Holiday season. By the way, I appeared on a Special Christmas Edition of fellow Raleigh, N.C. based critic Craig D. Lindsey's podcast Muhf***as I Know last week. We recorded a commentary (of sorts) for what Craig calls “one of the shittiest sex comedies ever made: THE HAPPY HOOKER GOES TO HOLLYWOOD (1980). The movie is available on Netflix Instant, so queue it up, go here, and listen to us babble all over it.

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ANNA KARENINA: The Film Babble Blog Review

   
Now showing in the Triangle area at the Rialto Theatre in Raleigh, at the Chelsea Theater in Chapel Hill, and in Durham at the Carolina Theatre:

ANNA KARENINA (Dir. Joe Wright, 2012)

I have to say upfront that I am “Anna Karenina”-illerate. 

I have never read Leo Tolstoy’s 1868 novel, nor have I seen any of the 1,056 TV and movie adaptations (I think this is an accurate number; I’m too lazy to confirm it on IMDb or Wikipedia). All I knew going in was the basic premise, and that this is the third in director Wright and Keira Knightly’s “literary trilogy” (previous installments were 2005’s PRIDE AND PREDJUDICE, and 2007’s ATONEMENT).

Wright’s new adaptation of ANNA KARENINA largely sets the tale of a love triangle that ripples through Moscow’s high society in a lavish old theater that evolves within the production into whatever backdrop is needed. The effect is mesmerizing in the choreography of the players, and the camera work that includes several stunning unbroken shots - at least I think they were unbroken, some cuts may have been invisible to my eye.

So Keira Knight, as the title character, works around the ropes, pulleys, curtains, footlights, and appropriate props, to portray a virtuous woman in a loveless marriage to Count Alexei Alexandrovich Karenin (a balding, bearded, and quite boring Jude Law). Knight meets Aaron Taylor-Johnson (KICK ASS, John Lennon in NOWHERE BOY) as the dashing Count Vronsky, and they begin an affair together.

In a secondary storyline, Domhnall Gleeson as Konstantin Levin, retreats to working along with the peasants after his marriage proposal was rejected by the young blond beauty Kitty (Alicia Vikander), who gets involved with Taylor-Johnson. You see, it’s complicated.

Obviously, since this is a 2 hour and 10 minute adaptation (written by legendary screenwriter/playwright Tom Stoppard), of a 864 page book, the movie has to gloss over a lot of story details, but the last half of the film got a bit too jumbled for me narratively. It was also got harder and harder to be immersed in these people’s lives, as Knightly goes a bit over the top at times, Law is overly-passionless, and Taylor-Johnson’s pretty boy pose mostly just blends into the scenery.

However, overall the film casts a pleasing spell with its intriguing theatrical framework even though that concept gets dropped for a bit in the middle of film. A ballroom dance sequence is one of the most striking, though I’d be hard pressed to name that arm movement dance they’re doing. Background dancing couples freeze as the principals pass, with the exquisite choreography by Sidi Larbi Cherkaoui again coming into play. It’s an incredibly inventive way to tackle one of the most standard scenes in all of historical romance drama.

A horse race scene comes close, but I’m not even going to try to describe how they pull that off.

Maybe if I was as in love with the aching close-ups of Knightly as cinematographer Seamus McGarvey’s camera is, I would be into the poetry of these people’s plight, but really caring about how this woman is shunned by the aristocracy was really beyond me. 

Still, ANNA KARENINA has considerable merits, and folks who have a history with this material will surely get a lot out of it. It does make me want to read the book, and maybe check out another adaptation (I hear the 2000 miniseries is good), so I consider it a success for introducing me to one of Tolstoy’s most loved works, and for its meta theatrical take on this oft-told tale.

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